June 22, 2025 • 62 mins
We're diving into the wild world of *The Room*, the 2003 cult classic that’s as legendary as it is bizarre. This flick is foundational for the Anomaly Film Festival, and we’re unpacking all the ridiculousness that makes it a must-see. We’ll chat about everything from Tommy Wiseau’s mysterious vibe to the film’s iconic lines that make you go, “Wait, what?” Join us as we explore how this cinematic trainwreck became a beloved disaster, and trust me, it’s gonna be a ride! Don’t forget to check out the Anomaly Film Festival coming up this November, where we celebrate the flicks that inspired us!
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Twitter: @anomalyfilmfest
Instagram: @anomalyfilmfest
Facebook: https://www.facebook.com/AnomalyFilmFest/
Join us for the Anomaly Film Festival November 5-9, 2025 at the Little Theatre in Rochester NY!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(01:01):
Is certified pg.
Pretty great.
It's Anomaly Presents withyour friends, the podcastronauts.
Sounds like a lot ofsupernatural baloney to me.
Supernatural, perhaps.
Baloney, perhaps not.
(01:23):
Hello and welcome to AnomalyPresents, the podcast about the genre
movies that inspired a genrefilm festival.
That is the Anomaly Film Festival.
It makes its home in beautifulRochester, New York.
We are doing it again for.
What is this, the seventh time?
Sixth time.
Seven.
(01:44):
2018.
Lucky number seven.
Oh, my God.
Right?
You don't need to count to puton a film festival.
We swear to God, everybody,this year's lucky seven.
We're all, like, once.
Lucky number 11.
Yeah.
Okay.
We made it.
We did it.
No, one year barely exists inour head.
(02:06):
That's it.
There was one year that wasreal weird for everybody.
2019, everybody.
I was compiling the list, mywonderful Excel spreadsheet of all
of the things we have screened.
I was like, oh, yeah, I forgotabout that gem.
Oh, yeah, I forgot about that gem.
God loved and gone.
My brain is my brain.
(02:27):
You fondly, but forgot aboutyou for a hot second while I was
doing this.
Or forgot the year with whichwe had screened it.
Oh, yeah.
It always kind of lives in theether as I'm zipping through to be,
and I'm like, oh, hey, I'veseen that.
Our friend.
Yeah, our friend.
That's it.
These films are our friends.
Yeah.
So, yeah, this is the AnomalyPresents podcast, the podcast about
the genre movies that inspiredthe genre film festival.
(02:49):
It's Anomaly Film Festival,November 5th through 7th, the year
of our Lord 2025 in beautifulRochester, New York, at the historic
Little Theater and theslightly more historic Dryden Theater.
It's maybe neck and neck.
I don't want to give them toomuch, but.
Yeah, no, no, no, no.
We got talk good about them.
They keep letting us come back.
They haven't figured it out yet.
The palatial and historicdriving theater at the George Eastman
(03:13):
House In Rochester, New York.
Anomalyfilmfest.com is the website.
Anomaly Film Fest on all yoursocials, if you're nasty.
I think we're on Mastodon Blue Sky.
Oh, yeah, yeah.
We got the Blue sky, got theMastodon, got the Insta.
That's it.
Really, Orchid.
I.
I should be posting more ofour reels to Tick Tock, but I'm not.
(03:35):
That's on me.
That's on me.
Oh, and I guess technically Facebook.
Instagram's supposed to go onthere, but I got.
Anyway, you don't want to hearabout me and my social media manager
issues.
You can tell the ones I like.
And they're my children, myfavorite children.
And.
And.
And the others that are like.
Well, those also exist.
Yeah, it's fine.
I love all my children equally.
(03:56):
Is this, like, Lucille Bluth?
Facebook?
So, Yep, that.
That is the Anomaly Film Festival.
We are here to talk about themovies that inspired the Anomaly
Film Festival.
Sometimes it's kind of marginal.
Sometimes it's just movies wereally like, so we just want to talk
about them.
(04:17):
This one, I can honestly say,is kind of foundational for Anomaly.
Foundational for, like,personal growth.
Yeah, it's one of the.
The touchstone films that kindof brought about that weird, like,
independent auteur situation.
(04:37):
Maybe auteur 20.
What are we saying?
2000 and tens?
Is that where we were?
Somewhere in that ballpark?
2003.
2003.
And then with us longer.
Yeah.
And then.
Feels like it shouldn't be the2000s, though.
I feel like 1980s, 1990s.
Every time I see 2003, I'mlike, really?
(04:57):
Yeah, right, Exactly.
Feels older.
It hits.
Ageless.
Yeah.
It hit some weird notorietyout in la and they're like midnight
movies.
And then all of a sudden,there are a bunch of articles written
about it.
And then you could buy the DVDfrom the filmmaker off his website.
(05:20):
So I.
I read one of those articles.
I bought the DVD from TommyWiseau off his website.
You know, Living the Life.
You know, came with a nicepalm card.
It was very, very cool.
Listen, you walk the walk, notjust talk the talk.
Like, I will buy and support this.
We.
We had it.
We had everybody over to watchit, including our.
Our anomal dads, Matt andAdam, which gave way to more screenings
(05:42):
like that, including Birdemic.
Later.
Down.
Down the Road.
Amen.
Which led into us joiningforces with Magnus and Film Fail.
And that.
That's.
That's where we kind of joinedforces with Magnus and.
And Meg and.
Yeah, yeah.
So foundational is right.
Foundation.
This is a.
And then you all found out Ididn't watch it, and it immediately
(06:06):
got bumped to the top.
Oh, yeah, we.
This is rescheduled.
That we have a database.
We have a spreadsheet that KPhas put together, and we blew it
up because Matt and I arelike, oh.
No, no, no, wait.
No, no, kp.
We've been doing theology for.
For seven years now.
And you didn't read Genesis?
What the hell?
(06:28):
So here we are, we're talkingabout the 2003 classic the Room.
Also, because this is a moviepodcast and you are contractually
obligated to talk about theRoom do one episode just by virtue
of the fact that you're a.
A movie podcast.
So the punches and popcornepisode will probably be out in about
six months.
(06:48):
Love you guys.
Shout out.
There technically is a fight scene.
Yeah.
So yeah, a lot of taunting.
We could.
Cheap, cheap.
Speaking of arresteddevelopment and not knowing what
a bird sounds, no idea what.
A chicken sounds like.
Has anyone in this family evenseen a chicken?
(07:11):
Perfect.
That energy, except for ourrest development, that is on purpose
and in the room.
It is very lovingly not on purpose.
Yeah.
And, and I don't know, I feellike it's kind of, I don't know,
almost beating a dead horse togo into the background of the room.
Because there's been books andmovies and, and all that.
(07:32):
Yeah.
And he goes around and doesplenty of interviews and I know he
kind of flip flops on things,so it just seems like there's certain
core things you will know.
Everything else is just takeit for what it is.
So we've answered.
So.
So Matt, you said the firsttime you saw it, right?
That was buying.
Buying the dvd.
I bought the dvd.
Right.
Okay.
And then kp, it was because wemade you right now.
(07:55):
Yes, about a week and a half ago.
Whatever.
So it's funny because my firstlike real watching it was through
Rift tracks.
Oh.
So we've all had three verydifferent experiences.
Like, it became one of myfavorite, most relaxing Rift tracks
to throw on.
I, the, the, the do do do dolike, is relaxing to me because I'm
(08:17):
like, I'm just gonna pop thison and like just hang out in my room
or like half sleep.
So when I hear like, oh, hiMark, I'm like, ah, yeah, this is
my happy place.
I can rest.
Yeah.
Yeah.
Because I'm also safe becauseI'm not with this movie alone.
There are experts andprofessionals that are walking me
through.
Like, no, that was a veryweird thing that just happened.
(08:39):
Don't worry.
Thanks, guys.
I, I feel like we might havedone you a disservice.
Kp, you didn't watch this allby yourself, did you?
Oh no.
KP froze.
Oh no.
KP realize the error of herways and just escapes completely
(09:00):
from the stream.
You know, we'll just keepvamping for a bit.
Yeah, yeah.
So yeah, it's.
It's an interesting thing whenyou run into those movies like that
though, because it's.
You do need kind of a crowdto, to watch it either in your living
room or, or, you know.
Yeah.
Basically I was alone.
Oh, hello, kp.
I'm Back now.
I'm so sorry.
(09:21):
Right.
It was like the questionshocked you so much.
Like, I did watch it alone.
You sons of.
And then you just froze.
Yeah, no, I wasn't.
I was gonna make my sweetheartsuffer through that.
So I.
Oh, you know what love thatwas be.
That was beautiful.
She would have been done inthe first 10 minutes.
So.
So anyway, I'm gone.
There are very specificcheckpoints I can think of in this
(09:43):
movie where.
Where she might punch out.
And, yeah, 10 minutes isprobably it.
And then if she made it.
Yeah, 40 minutes in, it was funny.
Like, I mean, I have watchedplenty of movies that are, I'm sure,
inspired by this.
Right.
Or feel very like, yeah, I'llmake my own passionate.
Yeah.
(10:05):
Yeah, We've explored them onthis podcast.
Indeed.
And so I was like, yep, this.
This is.
This is ridiculous.
This is just all ridiculousness.
I mean, this man is being veryserious about what he's doing.
Oh, yeah, it is.
The way I look at it is.
I was like, it.
It's.
It's definitely not.
It's not Showgirls.
Right.
It's not somebody who, like,it's over the top for a reason or,
(10:27):
you know, the acting is theway it is for a reason.
This is a man who tried very hard.
Yeah.
To make something that meantsomething to him and is a laughingstock
kind of.
I feel a little weird about that.
Yeah.
Well, it's weird because,like, this.
This goes right into, like.
So the reason I like this is.
And, you know, I think folksare, you know, folks who like this
(10:49):
kind of film are kind of like,you know, figure out.
What do you call it?
Because it's so bad, it's good.
Sounds almost insulting.
And here's the thing.
You had a good time.
I like talking veryspecifically about this kind of film.
I like the term ego splitationwhen it is one person, usually a
dude who, you know, let's saythey have at least three credits,
if not more in the creation.
(11:10):
This is very Neil Breen, butthe idea that someone who had a message
that they wanted to share andthey are very serious about it, they.
These are very serious moviesabout serious issues.
Bringing up birdemic.
James and Gulian had somethingto say about the world and ecology
and was very serious.
(11:30):
One of my.
My favorites.
Speaking of madness, becausewe went through several of this gentleman's
films during film fail.
Frank d' Angelo.
I was just going to ask you totalk about Frank d' Angelo.
Thank you.
Yes.
Okay.
The.
The Canadian businessman who Ibelieve his money was from cheetah
energy drink.
And he's used that money tomake a series of films where he's
(11:52):
like a really cool, somewhatmob related dude.
He's we.
He's driving a motorcycle andthey always end up eating in the
restaurant this man actually owns.
And he's.
And this is funny because it'sinteresting the parallels to yo where
Tommy also wrote a movie whereeveryone loves him and they come
to him for advice and he'slike, this made.
And this is the same thingwith d' Angelo.
And it's very interesting tosee like, same thing with brain.
(12:14):
You have someone who wrote astory how.
Someone who looks exactly likethey are and they're very much them.
Anytime you see any of thesefilmmakers outside of the film, this
is the same person and they'rewriting a story about how they're
really cool and amazing andwise and when bad things happen,
it's everybody else's faultand the world's horrible.
Because really, if people justlisten to them and let them like,
(12:36):
lead, well, the world will bea better place.
So I'm very interested.
Another movie, Champagne and Bullets.
Yes.
Another where a man stops themovie entirely just to do a Hamlet
soliloquy.
Soliloquy.
Because he can.
But also he's pretty sure he'sreally good at it.
Also, also takes time out todo his big rock ballad.
(12:58):
Oh my God, it's an entire song.
Like he wanted to be a rockstar and an actor.
Yeah.
Puts the brakes on the moviefor four minutes.
Can say, well, that's.
That's Tommy.
W y.
So with the two sex scenes.
And he thinks he's like debonair.
You.
He thinks he's like a heartthrob.
And it's exactly all thesemovies happening.
(13:19):
They.
They reveal.
So like, I almost like what'shappening for me.
And part of the reason I enjoy them.
One, they're interesting.
There's a lot of boring moviesout there.
These are not mediocre films.
These are special.
And I hold that very dear to me.
And part of what makes themspecial is you have someone.
And an artist, I'm going tosay artist.
Art doesn't have to be good or bad.
It is art.
It is creation and it is veryself revealing.
(13:41):
They are revealing more aboutthemselves than they know they are.
Which I think is key to egosploitation.
Like, I know a lot about theseguys now.
I know a lot about what makesthem tick.
And I think that's what othersfind very interesting.
Like, I know a lot about Tommy.
I Feel like I know how atleast one of his relationships went
disastrously.
(14:02):
Yeah.
Very badly.
Reading the Wikipedia and hehad written a 540 page novel that.
Like.
And this.
Yeah, that was.
He became a journal.
Yeah, he had the worst breakup.
Whoever this witch of a womanwas just didn't appreciate him.
Woke up one day and justdecided to stomp all over his heart.
(14:23):
She's never actually given a reason.
She just wakes up and is like.
Yeah, he bought her anexpensive dress and he cheats on
her.
Right?
Yeah.
But yeah, no, I think thatpoints to it being very revealing
about him because these aren't fully.
Like the characters are notthree dimensional.
They're all like the peoplewho hurt me.
The real victim and hero in life.
(14:45):
It's very much the pastiche.
And kp.
Yeah, it's a journal.
Some would call it a manifesto.
It's kind of that sort ofthing where these are the people
that wronged me in very broadstripes and we're just going to go
at them and.
And this is how.
How the world looks through my weird.
Yeah, very interesting eyes.
Yeah, he just.
(15:05):
Based on what we do know abouthim, he seems like the type of guy
who just like wants toreinvent himself and wants to be
cooler and wants to run awayfrom who he was.
Like, there's very little.
Yeah, there's very littleknown about his past.
He tried to pass off being French.
Like he changed his name tosome sound French as opposed to Polish.
(15:26):
So like there's all thesethings that are just like, yeah,
okay, I'm sorry, I guesswhatever happened.
But yeah, yeah, I mean, whatwas, what was the sitcom he created?
Was it the Neighbors again?
A setup where like, hey, I'mthe cool dude.
Everyone in the neighbor, theneighborhood knows and they're all
wacky, but I'm there and likehe's trying.
(15:47):
Yeah, you can see.
Desperately he's trying towrite his own story.
Like this is what he wants hislife to be and I gotta give it to
him.
I mean, I know who TommyWiseau is.
Oh yeah.
Like, I think of like himgoing to these screenings that are
Rocky Horror esque and youare, you know, you.
(16:08):
It's something so important to yourself.
Right.
That is deep.
And you wrote 540 pages on it.
And my understanding is likethe filming of this took a very long
time because he wanted to getit right and.
Oh, I have some information on that.
It's fascinating.
Oh yeah.
And then you just go.
And these people are likethrowing spoons and laughing at parts
that you probably didn'tintend to be funny.
(16:29):
And it's that weird dichotomyof being like, I'm famous and people
are seeing my work.
And there's something greatabout that.
And it's being interpreted ina way that I did not intend.
What's interesting, I findwith White, like, say, I'm.
Could have been being.
Bring Breen up a lot.
I'm sorry.
I'm sorry.
I think it.
Because that is one placewhere they do differ is I think,
(16:51):
why so in his need to, Ithink, just be famous.
I don't even think his need isto be an actor or a writer or.
I think it's needed to befamous, perhaps as an artist, but
famous.
Right.
So that, I think explains hisadjustment to going, oh, it's always
a comedy.
Oh, it was a dark.
Like.
I think because he needs totell himself that he can enjoy this,
which is great.
(17:11):
Whereas Breen will not allowyou to show any of his movies as
a midnight movie.
He.
He.
He is not down with anyoneenjoying this in any way, but how
he presents it, and that'sjust super.
That.
That is interesting.
I don't.
I think that just probablyspeaks a bit to their differences,
but also that ego.
Either way, can you.
Can you turn the world so itfits your ego, or do you try to force
(17:33):
the world to.
It fits your ego, you know.
Yeah.
With Breen, I saw somebodycompare him just recently to George
Lucas.
Like, in his mind, he thinkshe's George Lucas, which is why the
films have kind of evolved theway they have.
So now he's everything ongreen screen.
Because he can control.
Yeah.
And it's all controlled.
It's all.
It's his own little diorama, almost.
(17:54):
Yeah.
Which is interesting because why.
So hasn't really like the Roomwas his, like, masterpiece.
That was this thing he had toget out in the world.
And it's almost likeeverything after was just to keep
the fame.
Like a weird selling underwear.
I feel like, again, that'smore interesting to him is I'm Tommy
Wiseau.
(18:15):
Whereas Breen's like, I willcontinue to make movies for I'm an
artist.
I love both of thesesituations quite a bit because it
speaks to what's important ineach of their lives and.
Also keep them busy becauseI'm seeing inside their souls.
Oh, my God.
I don't want that you staybusy doing other stuff.
Please.
What would be happening inthis world if Tommy Wiseau was left
as to different devices thanwhat he's at?
(18:38):
He did just make A movierecently, didn't he?
Where it was like a sharkattack movie like a year or two ago.
Oh, he might.
In 2023.
Yeah.
I want to say it ran as adouble feature at the north park
in Buffalo.
They ran that and then the room.
That's very specific.
So I bet that's true.
Yeah, that's a very specificthing to think.
It feels recent to me.
(18:58):
That's the only reason.
Because I was like, oh, TommyWiseau is there.
He was also there at Christmastime showing the room.
IMDb picture.
Scary.
Okay, sorry.
Yeah, it's called Big Shark.
I feel like why so has becomea little more self aware.
I mean, again, it's aboutfame, I think, for him, as opposed
(19:21):
to art.
So he's leaning into, well,why will people invite me?
It might not be why I made mything, but people invite and talk
to me.
That's what he likes.
It's a thing.
This is gonna sound weird, butit's a thing I kind of got to watch
firsthand because it wasbreaking right when we were at Comic
Con in San Diego, like everyyear for six years.
So we saw the evolution ofWiseau because, like, the one year
(19:44):
he was there and he washawking the DVDs, and he was like,
there's a very specific erathat Tommy Wiseau is from.
And it's 1999.
It is corn and Limp Bizkit.
Yeah, yeah, yeah.
You're talking aesthetically.
We saw him successive years,and he had the biggest Jinko pants
I've ever seen in my life.
And then the black plasticchain, you know, like they use at
(20:07):
the amusement parks behind.
Between the stanchions.
Yeah.
That was his chain wallet.
Amazing.
Amazing.
But in successive years, hestarted to play the part of celebrity
more like there were the firstcouple of years, it was.
I'm happy to see you.
Like if people caught him.
And then he was trying to beincognito in a way, still dressed
(20:27):
as Tommy Wiseau, mind you.
So, like, he's a verydistinctive figure in general.
Yeah.
But still trying to play itlike he's just walking the aisles
like, oh, oh, so.
So don't notice me, but say.
Saying it very loudly.
Oh, no, please leave me alone.
I'm just trying to go about my day.
Okay.
Yeah.
Don't look over here.
(20:48):
It's not Tommy Wiseau.
Yeah.
I said don't look over here.
Yeah.
Fascinating.
Yeah.
It was an evolution probablyin that.
That three years between that.
The time that article.
It might have been the Vulturearticle came out.
Yeah.
And whenever There was like aweb series he did, like House of
something or other.
(21:08):
Yeah.
Where it's like him playingMortal Kombat.
Yeah.
I didn't want to look thesethings up because I was like.
I just read about it and waslike, yeah, I don't.
I.
I don't want the Internetclogging up whatever else I got going
on.
You're getting Googlenotifications anytime Wiseau is in
the area.
Yeah.
I'm happy you're.
I'm happy you're having a goodtime and you're busy.
I.
Yeah, keep them busy.
(21:29):
Keep them busy, everybody.
But you know what?
Yeah, good.
I think you're right, Meg.
Like, there it is that wherehe's there for the fame of it more
than he is.
Because that's what he wants.
Is that recognition.
Yeah.
He made.
He remade himself.
Even though people are like,this isn't you.
It is him in that he madehimself this.
He's living that.
He 100 is Tommy Wiseau right now.
(21:50):
And what a triumph.
I mean, honestly, for him.
Whatever is like hinted at,like the Disaster Artist book, you
know, Greg Cistero and the cowriter do a little, like, stuff that
Greg could figure out and alittle bit of research.
It does not sound like a greatpast if whatever they could pick
up.
Right.
It sounds very much like hewould love for that just never existed.
(22:12):
And he.
He did it.
He did it.
He's an oddball, but hereinvented himself like the.
The American dream.
Yes, exactly that.
He really does embody theAmerican dream, which is a wild thing
to say.
Yeah.
But you're right.
And he did it by making this movie.
That is just.
(22:33):
I.
Let's dive into it.
Should we talk about the movie?
Let's talk about the.
We're.
We're 20 minutes into the cultof personality for Wiseau, so we
can probably.
This is what he would want.
Oh, yeah, no doubt.
This is an hour long and wespent half of it talking about him.
Yeah, we're doing our part.
Yeah.
The.
The folk hero that is Tommy Wiseau.
(22:54):
Yeah.
So this movie.
So it starts.
Movie.
Yes.
KP.
It's fresher in your mind.
Probably.
There's three sex scenes inthe first 26 minutes.
And when I was like, I lookedat the time and said, what is happening
here?
But it also, like you said,does not give 2003.
Definitely gives 80s 90s.
(23:15):
Yeah, yeah, yeah.
That real timeless.
Yeah, yeah.
There is a timelessness too.
Like, I don't know what'sgoing on because an alien made this
film.
I Was gonna say because Idon't want to room.
And it's just curtains.
Yeah, yeah, yeah.
He's wearing a suit.
She's.
(23:36):
I'm trying to remember whatkind of clothes she wears other than
that red dress.
Right?
It's an iconic red dress.
Lisa's red dress.
Iconic.
Lisa is always dressed justas, like, Southern California, late
90s.
Yeah, yeah.
With the.
With the giant French manicures.
That was wild.
How many times we saw that.
I'm like, what is happening here?
(23:56):
She must have just paid goodmoney for that.
Either that or we're going to watch.
It again and again.
It's another peek into Wiseau psyche.
It's one of the two.
But, yeah, it's justeverything about it.
Meg, you said alien.
And everything about it feelsthat way because it's shot very much
like a sitcom, but translatedback and forth from a different language.
(24:17):
Tone is wildly off duringcertain things.
Again, referred back to thedisaster artist.
A couple times they would talkabout, like, hey, hey, Tommy.
When.
When we're having dialoguethat, like, say, like, Mark is talking
about, I used to know this girl.
She was going out with a lotof dudes.
She got beat up so bad, sheended up in a hospital.
And Tommy laughs.
(24:38):
And it goes, oh, Mark.
And they would go, tommy,please don't react that way.
That makes no sense.
And I was like, no, no, that's how.
Like, that stuff, like, it isa why so.
Reaction.
Because it makes no, you know, like.
Or the whole.
The famous.
Like when he goes up to theroof and he slams his water bottle
down.
I did not hit her.
I did not.
(24:58):
And initially, oh, hi, Mark.
And like, they were like,tommy, that makes no sense.
You were upset.
And now.
And he's like, no, that's howI'm gonna play it.
So he had a vision.
There are so many, and it'svery not human.
The sex scenes, too, are.
Not to sound pervy about it,but, wow.
(25:20):
Even the ones that Dennydoesn't show.
Up in, I mean, there's that.
Which is Denny, who isanywhere between, what, 13 and 74
years old.
Yeah.
Just wild.
Because again, another peekinto why.
So it's brain.
So he wants to be like, oh,I'm the cool neighbor who takes care
of care of this kid, and Ilook up after him, but he's jealous
(25:42):
of my love, of my hot lady.
So he'll just, like, come upwhen we're about to get busy, and
then we just wrestle on thebed and it's fine and not awkward.
And I don't Yell at this guyto leave my house.
Yeah.
Because again, I.
He reads like he's a high schooler.
It's.
I.
I can't get a bead on Denny.
(26:02):
Yeah.
I.
And that's bizarre.
Yeah.
Yeah.
It's just.
It's one of the moreconfounding movies I've.
I've seen.
Yeah.
Or just, you know the stuffwhere Lisa's mom's like, out of nowhere,
like, well, I gotta call back.
It's definitely breast cancerand it never comes back devastating.
(26:24):
That should affect, like, oh,well, then Lisa's under a lot of
stress and she's.
Nope.
No.
This movie is an hour and a half.
Not even.
It's like an hour 20.
And it's dense.
Well, that.
I don't know how many times I,like, after that first 24 minutes.
And then after that, I waslike, we're still going, like, hello.
(26:47):
Hello.
It is a short film that feelsmuch longer indeed.
And it's wild because what.
And they, like, run out oftime or like, some of the actors
weren't available.
Oh.
So it would have been morelike the psychiatrist or something.
Therapist.
That's the best part.
Peter, the guy who playsPeter, the friend and psychologist
who there is a scene for.
Right?
Yeah.
He is very clear.
He said, listen, I haveobligations after this, so I can't
(27:10):
film anymore after this date.
That date came and went.
So all of a sudden an entirenew character is introduced.
Well, I say introduced.
Shows up and basically saysall of what would been Peter's lines.
And the movie's just like, oh,this other guy.
Yeah, you all know this other guy.
Did we introduce him?
We didn't have time.
From nowhere.
Apparently the cast and a lot.
There's a lot of turnover.
(27:32):
Apparently the crew, at leastthe legend, is at least four times
a complete recap.
You know, a re hiring of the.
The crew.
Greg Sestero was not supposedto be in the film.
He was doing it because he.
He was a friend slash roommateof Tommy.
Yo.
The disaster artist.
The book Wild.
But.
But so he was there just tohelp his friend Tommy.
(27:55):
And the first person whoplayed Mark was one of the several
actors who were recast during it.
And.
And Greg was there.
So Greg Sestero's trajectoryof his life, not just his career,
his life was changed when hewas cast as a Mark.
And it was just because of thegeneral chaos of the filming.
(28:19):
Could you imagine?
Just the proximity, like thatwas it.
He was there because he needed a.
He met Tommy in an actingclass, needed a place to live.
And I was like, sure, I'llhelp you, weirdo whose apartment
I live in sometimes.
And then boom.
Super fascinating.
The fact that.
So Tommy didn't reallyunderstand filmmaking, which I think
(28:40):
is.
Is fairly clear.
On a technical level, though,he filmed everything in both 35 millimeter
and.
And high definition video.
Basically, they built aspecial thing to film both at the
same time.
There is no high definitionvideo in the final cut.
It is just 35 millimeter.
He didn't know that those arejust two different formats and you
(29:02):
should choose.
So he just spent the money tojust record with both at all times.
Which, again, goes towardswhat we were saying before, where
things are sometimes offkilter because they didn't have it
quite right.
So things were.
It was like a.
It was a handmade rig.
So both things would be in running.
At the same time.
And then what is.
(29:22):
Sometimes it's, like, fuzzy.
That it's not fuzzy.
There's green screen for no reason.
Like the roof.
Why didn't you just film onthe roof?
Literally outside.
They were outside.
Yeah.
They filming.
Yeah.
They built the set for that alien.
The.
The famous tuxedo.
Like football.
Yeah.
They were like, we could film this.
(29:43):
There are alleys.
But he had a vision also.
He didn't know how films weremade, but he thought he knows how.
That's the thing with ysl.
He.
He doesn't know how films weremade, but he thinks he knows how
films are made.
And whatever his thought aboutit that day was, was how they made
the film.
I've had managers like that inthe past.
And.
Yeah.
(30:05):
Yeah.
It's never.
It's.
You're just trying to survive.
Imagine having thatconfidence, though.
Like, that's just.
That's the amazing thing to me.
Like, just the confidence.
Now I'm pretty sure I know howto do this.
No, I got this.
I got this.
I got this.
You most certainly do not got this.
(30:26):
But okay.
And everyone's, like, guidinghim to be like, hey, this isn't how.
Maybe.
Maybe not.
And he's like, no, no.
I am certain.
This is the way it shall be done.
Certainty.
Yes, kp the certainty withwhich this film was made is w.
If I.
Had even an eighth of theconfidence that Tommy Wiseau had
at any given moment.
Right.
(30:46):
Unstoppable.
Unstoppable.
Honest to God, they made thismovie was 6 million.
Who gave this man $6 million?
That is always a mystery.
People are like, where didthis money come from?
There are many stories I willnever know.
And you know what?
It doesn't really matter.
It exists and it's a gift fromthe universe to everybody else.
(31:09):
Yeah.
Thank you.
Do you think he's made the 6million back?
@ this point, you gottafigure, right?
I guess it's just.
Okay, so it's the wildmismanagement at the beginning because.
Okay, so besides that.
Right.
The marketing.
So they had that billboard that.
That famous bill for five years.
He paid for that shot of hisface, which he called the evil man,
(31:32):
which isn't what his characteris in the film.
It's just a weird shot of him.
But why so like the image somuch that he's like, there on this
billboard.
Five years.
A Hollywood billboard isinsanely expensive, even accounting
for inflation.
So I.
I would love to think he madethe money back, but I don't know
(31:53):
if y.
So is like, the best with the.
I feel like that he.
He could have 5 cents.
He could have 5 million in hisaccount, and I would believe any
in between.
I would figure the Seth Roganmoney probably got him over.
Like, that would be my hope.
Yeah, yeah, yeah.
Oh, right.
Yeah.
Like, at.
At that he's able to recoupand at least be comfortable until.
(32:15):
Who knows what kind oflifestyle this man leaves.
But do you think Tommy's ever comfortable.
Financially or just in his.
No, I, I, you got.
I mean, in his human skit.
No.
Right.
No.
I feel like the question ishuman because he never seen a human
(32:36):
act like that.
Yeah.
It's total first day on earth.
Yeah.
Total Edgar suit moments.
Right.
It's.
And, and they met in an acting class.
He felt called to acting.
One of my favorite bits ofknowledge there because, like, he
had a lot of different.
He liked Tennessee Williams plays.
He liked a lot of the, like,big actors.
Like, he loved James Dean.
(32:57):
The fact, you know, the reason that.
You're tearing me apart.
Lisa, line exists is he's justripping off Rebel Without a Cause.
He just added Lisa at the end.
It feels a lot like Streetcaror like the big Rebel Without a Cause.
Like, I can see where he loved.
Like, yeah, he felt called to that.
And this is what TennesseeWilliams is interpreted through the
(33:19):
man who calls himself Tommy Wiseau.
It's fascinating.
It really is.
Yeah.
Because.
Yeah, I can see where it'sTennessee Williams meets Meisner.
Just like that.
Real.
Like.
Yes.
Once I read that, I waslooking through it again.
I said, okay.
I mean, they don't.
Things don't make sense.
But I almost maybe see theroad he was trying to get on.
(33:40):
He didn't get on that road,like, he took the wrong exit, but
I know where he was trying to go.
But now that you mention it, Ithink if you try to take human logic
out of it and just cast it from.
Yeah, yeah, yeah.
The emotional impact of it.
Sure.
It has the exact trajectory.
So he understands which.
(34:01):
To his benefit.
Really.
Yeah.
And it may just be like justtranslating back and forth between,
you know, what.
Wherever his origin is andWestern American movies.
Yes.
Because I.
We can probably.
We don't know where he's from,but we can say it's probably not
Nebraska right now.
Now I, I would put the littlebit of money I have on that.
Yeah.
(34:21):
So.
But he didn't come up in thatwestern movie culture.
So American reflection fromsomewhere, right?
Yes, yes.
Eastern Europe is my guess.
Yeah.
I would say general EasternEurope is probably where we are with.
With it.
Right.
But I can totally see where.
If you grew up watching thatlike on TV or at the movies, and
(34:45):
that's your reference forAmerican culture.
Yeah.
And then you really attachyourself to those like big American
movie star icons.
That's what he wanted to be and.
He did it from, from that standpoint.
Yeah, yeah.
I mean.
Yeah.
Super successful.
And I think that's probablywhy, you know, 22 years later, it's
(35:08):
still relevant, is that youcan feel that.
Yeah.
The, the, the absolute wantand need to be this person.
Not just the character, butthe person who made this thing for,
you know.
Yes, absolutely.
We're.
It is an act of self creation.
That is so ballsy.
(35:29):
That is so like beyond.
Like most of us would stop andgo, that's.
That's embarrassing.
That's cringe.
What am I doing?
But because why.
So either doesn't or cannothave that stop point.
He made the room.
All the good and bad thatcomes from that.
He made the room.
And then all the reflectionsof that afterward, which.
(35:51):
Yeah.
How many of these moves likeagain, going back to the Disaster
Artist, the novel slash movie.
Yeah.
When are they going to make ad' Angelo big budget mockumentary
epic with James Franco playing?
Well, probably not James Franco.
Maybe with d' Angelo.
(36:11):
It could be.
It's.
Yeah, but you know what Imean, it's.
It's that level of.
Yeah.
So.
Yeah.
Someone creating a version ofthemselves that they wish to be true,
that they wish to be seen as.
Oh, it's fascinating thoughquick aside for d' Angelo, which
is fascinating because theyall have all these ego exploitation
directors.
They have their things thatmake them kind of different.
(36:32):
D' Angelo would get folks likeactual actors like he had like Frank
Nero.
He had like Margo Kidder, Ithink Doris Robertson, a couple things.
Who else was it?
Robert Loa.
Here's Robert Loa.
Because here's the thing.
They'd film over the weekend.
He'd pay cash and the cateringwas good.
Yeah.
He got to hang out with.
Oh God, what's his name fromEddie and the Cruisers, Michael Perret.
(36:57):
He's in a bunch of his films.
So people come back to a d'Angelo film.
I think they know the filmthey're in, but he pays them and
he has.
And, and what, what d' Angelogets out of it is I get to hang out
with these actors and then Iget to be like, I'm also one of these
actors.
In fact, I'm the star of thething they're in.
So that's his star story isI'm a cool like Hollywood dude.
(37:21):
I'm hanging out with this dude.
You seen him in TVs andmovies, right.
I feel like for D' Angelo,part of it is I'm going to make this
movie where I'm the cool dude.
But also at 9 o' clock atnight, I'm going to be sitting there
with a glass of scotch.
Yeah.
Talking about the Craft withEric Roberts.
That's.
That's it for him.
That's what it is.
(37:41):
It's always fascinating for him.
It's the hello.
Because he's got the money andI don't think he has the need.
Why so does to totally convert himself.
He just needs to be like, I'mnot just a guy who has like, who
created an energy drink.
Also.
I am also an artist.
I, I am an artiste.
I am a TV personality.
(38:01):
Because he did have hisinterview show for a while.
He had like his late nightvariety show.
He's another guy that we needto keep in the arts.
Be busy.
Yeah, just be busy.
I need him to stay real busy.
I got a feeling I need him tostay in the arch.
Entertain a person that reallyjust needs to keep in front of a
camera.
We should probably do one ofhis movies at some point.
(38:21):
What was it?
Sicilian Vampire.
I was just about to say themovie that he is a vampire, but about
a halfway through the movie heforgets he's a vampire because he's
not actually interested in that.
And it kind of becomes anotherone of his.
He's basically like a mob guy,but you know, one of those cool mob
guys who protects theneighborhood and loves his lady and
protects her and rides a motorcycle.
That was also the last one wewatched together the one with Robert
(38:43):
Loa and Margot Kidder.
I really enjoyed.
I thought that was fun.
One.
I gotta check.
I don't remember the name of it.
We watched it together.
We were over at Magnus.
Oh, I.
We watched so many d' Angelo films.
Yeah.
In all honesty, I'd have tolike go.
It was a stretch.
Was that the one where he waskind of the mob guy who was like
the coolest dude in theneighborhood or was it the one where
he's the mob guy?
This cool student neighborhood.
They both were in a restaurant.
(39:04):
It was the one where he rodethe motorcycle.
Oh yeah.
Which I was like, that wasjust a tax write off that legit.
I will guarantee you he drivesthat thing in real life.
That Bugatti is his.
Yes, it is his 100.
Well, I haven't watched anyhis movies either.
So we'll add it to the list.
We'll get there on that.
We're going to take youthrough the.
The ABCs of ego exploitationand then.
We'Re going to watch Champagneand Bullets.
(39:25):
But we need to have stuff in between.
So.
Yeah.
The movies are supposed to look.
Yeah.
And that's wonderful.
We.
We will do that.
We'll.
Champagne and Bullets.
I.
I have the Blu ray, so wecould do that together some point.
Oh yeah.
Whichever version.
Because he added stuff 20years later.
I have the vinegar syndrome,which is all of them.
(39:48):
It's the get even cut.
It's Champagne and Bullets.
It's the whole.
There's like three different cuts.
I have all of them.
You know how I can bring thisback to the room?
Apparently, according to GregCesto originally, Johnny was supposed
to be revealed to be a vampirein the room.
Hey, do you think that moviemakes more sense or less sense with
(40:08):
that looking through that lens?
I don't know.
Do you want to know what?
I think it makes more sense.
Yeah.
Because then that gives yousome context as to why he acts not
he's in the way he does.
Yeah, yeah.
I was interested.
Of course.
This is just from.
From Sestero.
I don't know if you've beenthought about that one.
Yeah, yeah.
(40:28):
But I.
I love the idea that he wasgoing to make Johnny a vampire.
And I was like, I could one more.
Could this film support onemore thing or.
Or is it like some sort oflike that Topple gang game that just
slips over?
It could have been the Jenga moment.
Yeah.
But I don't know that it wouldbecause again, I think that explains
(40:52):
stuff.
70 of the behavior now, of course.
He'S a day walker.
But, you know, we can excusethat from.
Or the plot.
The fact that they throw afootball within three feet of each
other.
Oh, my God, he loves football.
I think football is America tohim because there's, like, at least
two football throwing scenes.
Yeah, that.
That is very symbolic for him.
(41:13):
He's like, I made it becauseI'm making a movie and I'm tossing
a football around of myfriends, where I am paying to be
my friends in this film.
Yeah, it's a.
I.
I love it.
I.
I just.
There's something sointeresting about a revealing film
that is enjoyable in a waythat was not intended, but it is
(41:33):
still enjoyable.
That's.
I.
Those are ones I really, youknow, hold dear.
And the thing that.
Again, the thing that reallygets me about it is how it's connected
to so many people in so many weird.
You know, again, it's 23, 22years later.
Yeah.
It's probably the reason atleast 10 podcasts exist.
(41:54):
Oh, guaranteed.
Oh, no, we lost KP.
That's okay, KP.
We're gonna.
We're keep vamping.
Don't worry.
Vamping.
Wow.
It's like, I didn't know tostart that or.
This is the power of yso.
It is the power of Windsor.
KT again.
No, no, no, no.
I heard everything, but I was.
(42:14):
I was frozen and I was like,you know what?
I'm having technical difficulties.
These.
But we're.
Obviously.
I'm back.
I saw it lock up on you for ahalf a second.
I was like, oh, no.
Yeah, we're good.
But professionals.
I heard it all.
It was wonderful being a vampire.
I.
But, yes.
I.
Yeah, I'm curious.
Fresh in your brain.
(42:36):
Would that have made itbetter, worse, or Indescribable?
I think indescribable.
Because, like, he's a good vampire.
I don't.
Yeah, I can see that.
I.
He's a good vampire.
He's a gay.
Like.
Yes.
He's a day walker.
I.
I don't understand how it tiesinto the rest of.
He's a good man.
And, like, how does anythingtie into anything in that story?
(42:59):
Maybe it's just he.
I feel like it'd be more likehe thought vampires were cool and
wanted to be one.
Like, it was a Blade era, ifwe think about.
It would have been what,Interview with the Vampire.
Yeah.
Yeah, I could.
I could see him being realinto that.
Trying to just ride that.
And you said that he was Mr.
Like, Janco Jeans and.
Yeah, so that.
That.
(43:19):
That tracks, like, personality Wise.
Yeah, I could see it.
I could see it.
Yeah.
I don't know.
In my head, I just every oncein a while, I, I.
When I'm re.
Watching the room as.
As I.
I, I tend to with or withoutthe rift tracks depending on where
my brain is.
It's like you.
I can watch the vampire version.
I just have.
It's like an alternate track.
I just put my brain feelinggo, okay, okay.
(43:40):
Johnny's a vampire when Irewatch it this time.
Okay.
Yeah.
Okay.
I mean, if it was good thingthere was not a cat at the florist
because the cat would havehissed at him.
But the doggy florist scene.
My favorite customer.
You're my favorite.
Like, Like.
Oh, hi, Johnny.
I didn't recognize you.
What the did you just say?
Well, I guess if you were avampire, that would be your interaction
(44:03):
with the world.
Is this what humans think do?
Hello, flowers dog.
Yeah.
It doesn't explain heractions, though.
Well, that's it.
But they're controlled fromhim ultimately, so.
Right.
Because how many people onthis godforsaken planet look like
(44:23):
him to the point where shecould mistake him for anyone else?
Like I say, I have been in aroom eight feet away from the man.
There's no way he's anyone butTommy Wiseau.
He.
I.
I assume he has an aura.
Like, I feel like you wouldknow he was in the area before you
visually saw him.
Yes.
Like, what the.
Yes.
You feel it?
Yeah, yeah.
(44:43):
It's a very vampiric quality because.
Yes.
The air turns cold approaches.
Maybe it was too close to the truth.
Yeah, exactly.
He was like, oh, I can't giveaway all my secrets.
No, I gotta save something.
There's gotta be.
Yeah, right.
It also.
I mean, it could be realbecause I don't know that he's aged
in the last 22 years.
Yeah.
(45:03):
Oh, he.
Based on that IMDb picture,he's looking.
I mean, he's.
He's dedicated to that hair.
I will give him that.
That, that hair.
It's.
It's.
It is its own character.
Jet black still, which is impressive.
Yeah.
Yeah.
It looks dry as heck.
Yeah, he's.
(45:24):
He's looking a little worsefor wear.
Just a smidge.
Like.
Well, you know, he lives.
He lives a celebrity life.
The man is never nottraveling, as near as I can tell.
I will say this.
It doesn't look like he's hadplastic surgery, which kudos to him
because he.
Could have been an absolutemonster by now.
Like, he could have Jocelynwild and stained him out.
(45:44):
Yeah.
Real bad.
(46:16):
Yeah.
His IMDb picture looks likehim making, like, the duck lips.
It's kind of funny.
Okay, I'm making this up now.
He's his.
He's staring into my soul.
It's very, like, MySpaceprofile picture.
I don't like this.
No, exactly.
That's what I mean.
No, no, no.
It's a cursed image.
It's MySpace profile picture.
(46:38):
You know what it is?
The light through the windowwhen I woke up is looking pretty
good.
It's good.
Selfie light.
Exactly.
I feel like he just woke up,and I don't like being in that situation.
It's the duck lips.
It's the lighting.
Oh, there we go.
Oh, yeah.
Yeah.
I just.
Okay, but here's the thing.
He wants it to look like hejust took this photo.
(46:58):
How long do you think itactually took to get that photo?
The entire camera rolled.
Yes.
This phone was basically like,you've run out of.
You've run out of space.
That's right.
The cloud is full.
Yeah.
It's just fascinating becauseyou can see, like, he is a calculated
person.
And in this photo, I feel likeI can see.
(47:19):
See that.
Calculate.
He's trying to.
He's calculating, being casual.
I don't think he's a personthat casual comes too easy.
Or at all.
I'm sorry.
I was just distracted by Big Shark.
Yeah, that's okay.
You know what, Matt, you takea second.
You can take a second.
I'm watching later.
Good night, everybody.
So, well, we're ending this now.
(47:40):
Bye.
I just.
I get this is.
I.
I don't know if complimentary,but it's not derogatory when I talk
about why.
So it is interest.
Interest.
It is.
I am interested.
I'm also a little wary.
Like, I don't want to bearound him.
I wish to watch him from asafe distance.
Yes.
(48:00):
We're observing with labcodes, like I.
An experiment, if you will.
Just see how you move throughthe world.
Yeah.
Wait a minute.
We can see the reflection inyour glasses.
What are you looking at?
Yeah, what you're looking at.
What you're looking at.
Tommy Wiseau is the villain in samurai.
Samurai Cop 2.
(48:22):
Yeah.
Okay.
No, you know what?
I'm.
I'm not.
I'm not.
I don't like these things combining.
I don't like.
Like, there's, like, a certainpurity to a bad movie that came out,
wasn't meant to be bad.
And then you do these sequelswhere all of a sudden they're combining.
Yeah, because here.
So we've got Tommy Wiseau andBai Ling.
(48:42):
Yeah, okay.
See, they're trying too hard.
You're trying too hard at that point.
But, I mean, listen, I gettrying to get your money.
Like, I know Deadliest Prey exists.
I know this.
I know this.
I'm not upset that they, like,took another bite at the apple.
But also, like, it just never.
You can't capture it.
You can't capture the.
The other.
Estevez.
(49:03):
Oh.
Oh, Joe.
Estefans, is it?
Okay, why don't you say thatto begin with, Matt?
Maybe I do have to watch this.
Do you know how far I had toscroll to get there, though?
Why won't you put.
Go home, Joe.
I don't talk to people whoaren't in the movie.
See, Rift Tracks again,Sincerely is imprinted on my brain.
Oh, my God.
(49:24):
Movie.
Look at this.
Watch.
I need to watch Soul Taker.
What's.
Oh, Soul Taker.
Wild, wild film.
You know what?
It had almost what I'm looking for.
Someone really wanted to make,like, a supernatural thriller.
Didn't really have a whole lotof money.
Robert Zadar is in that, right?
Am I remembering that correctly?
(49:46):
Yep.
The chin, it is.
I can see what they weretrying to do.
I can see what they weretrying to do, and I salute them for
it.
Yeah.
I was like, oh, Soul Taker isa fun one.
Say, if Zadar is in it, I'm.
I'm there, right?
I'm so happy to see the Cherry 2000.
Another episode that youshould check out for Anomaly Presents.
(50:07):
Go back to the archives.
He's not in it a lot, but Iwas like, look, it's the dar.
Every minute of Zadar is worthtwo minutes of any other actor.
Yeah.
We do have to remind peoplethat we do watch regular good films
here on Anomaly Presents.
Just every once in a while,they let us go a little nuts of the
(50:28):
weird stuff.
You're doing good films inCherry 2000.
You're doing a lot of work there.
No.
Do I have to fight you?
Okay.
I enjoy it.
I like 2000.
I think it's a genuinely goodfilm that does what it's put it sets
out to do.
Agreed.
Yeah.
Okay.
By the measure, though, sodoes the room.
So I dulce it.
(50:50):
You know what?
Who goes to watch?
Audience.
I like to remain friends withyou, Matt.
So we shall leave thisconversation there.
We'll go back to our original argument.
What did the room do for Tommy Wiseau?
It gave him what he wanted.
And that's a success, is it not?
I see.
I see.
So we're not talking about thepiece of art doing what the piece
(51:12):
of art set out to do.
You're talking about theartist who made the piece of art.
Did.
Ah, I see, I see we're havingtwo different conversations here.
Possibly.
Yeah, I'll give it to him.
Hey, I went to art school.
I gotta do something with this.
Okay, the art school and theEnglish major are really battling
it out on this one.
Okay, what does the mean?
(51:33):
Yeah, let's get granular with this.
I'll Michelle Foucault on your ass.
I don't care.
Kp, kp, save us with a spreadsheet.
I know.
I, I went for like engineering.
Yes.
Like, this is what we need.
We need this energy.
Graphic engineering, butengineering all the same.
That's the closest any of therest of us are getting.
(51:55):
There were numbers involved.
There were numbers involved.
I had to take calc.
I had to take plenty of physics.
I had to take optics.
I.
I got a math credit with the3D sculpture class.
I didn't make anything with aright angle in that film.
I made a.
In that class.
I made a drum out of a gourdand I got math credit for.
It jumps on you.
(52:18):
I told the story.
I had to get one math creditin college and I took algebra for
non majors, which was.
They brought the 11th grademath teacher from Fredonia High School.
Yes.
In to teach all the com.
Majors and jocks.
Algebra.
These are numbers.
It was discontinued thesemester after because they realized
it was an 11th grade grade class.
(52:38):
Oh, but you got it in.
I did.
And I got a C minus, so.
Yeah, yeah.
Loopholes.
The Pythagorean theorem.
Like, as an adult.
Holy kp, you're amazing.
I'm like, no, this is likenothing in comparison to regular,
like actual.
No, no, no, listen.
(52:59):
You're talking to an art majorand an English major.
We're.
We are going to be astounded.
Yeah.
What comms in English.
It really wasn't goinganywhere for me.
Like, I did get, I thinkeither a minor or concentration in
literature because you gottahave the arts.
You can't just be a scientistor else you turn evil.
(53:21):
That.
Exactly, exactly.
And this is what movies do for us.
We learn important lessons.
Like, yo, you're gonna bail.
You need some humanities in there.
Yeah, right, right, right.
That's how to get your Dr.
Dooms.
Actually, I take it back.
Dr.
Doom probably took humanities.
He's got the humanities in there.
Yeah, real life, guys.
Actually, Reed Richards is theone who needed more humanity.
(53:43):
I'm on to you, Richards.
I.
What a Jerk.
Play that in the movie.
But I can't.
Here's my thing.
I cannot imagine Pedro Pascalplaying the side of Reed Richards.
We'll find out.
It'll break my heart a little.
Let me go.
No, I know you're an actor andI understand that, but also.
No, but then again, he won'tbe Reed Richards if he's not kind
(54:05):
of a dick.
He's got to be kind of a dick.
Yeah.
The best version of ReedRichards is the one we know, and
he's still kind of a dick.
Yeah.
In all the multiverse, this isthe most mellow one.
It's okay.
By the way, Meg, you are thefirst person I, I've talk to that
(54:25):
is even thinking about thatmovie coming out.
It's, it's weird because therewas like a little like, hey, they
showed a, a trailer and thenit went.
I, I, I don't know.
I don't know.
Yeah, I don't know.
I'm excited that the guy fromthe Bear is in it.
He's fun.
I like that it's like, I likethat it's a period piece because
I think like, start them outbecause he'll bring them into the
present, start them out wherethey started.
(54:47):
Because There is a certain 60sflare to the Fantastic Four.
I still stick by the fact theyshould have made the Peyton Reed
one with them in the 60s, thatfirst fantastic Four movie that Peyton
Reed made, because he had justmade the movie with, what was it?
Renee Zellweger and With Love.
Yeah.
What a masterpiece.
That's the same.
(55:08):
With Love.
That's the same director.
What.
I'm pretty sure that's PeytonReed, because Peyton Reed, I want
to say he did Mr.
Show and then he did that.
Fascinating.
And then he was supposed to doFantastic Four.
And one of the ideas for theoriginal Fantastic Four, if I remember
right, and this could just bewhat I wish happened, years of what
I've done to my brain.
(55:30):
But I'm pretty sure it wassupposed to be like a, like mid century
space age Kirby.
I think that's, that's a greatway to at least introduce them, like
get that feeling.
But they had to go with thatmcg vibe that nobody liked.
Am I right?
Is that, is that the ChrisEvans one or is this the other one
that there's been a lot of fantastic.
(55:50):
That is the Chris Evans one.
Yeah.
I don't see him tied to.
Ah.
Oh, maybe he was supposed toand didn't.
Yeah, I like that idea being a.
Good fit because like how down with.
Love like, yeah, that would be great.
Would have been, yeah.
Which I, that is the hope for,I guess, the new one.
(56:12):
I hope.
So here's the thing, is that,is it the, it's not the first Fantastic
Four movie?
Because that's the RogerCorman one, the other one, but not
the newest anyway.
The one with Chris Evans.
Are they good?
No, but I, I love that thatkind of introduced him into superheroes,
you know, like, and heactually was a really good Johnny
Storm.
Like, I thought the castingwas fairly good.
(56:34):
Elba, rough wig week.
That probably wasn't the best.
Yeah, I was like, oh,sometimes she's a little flat.
But I gotta go back.
I be like, I gotta go back andwatch this.
Do I, do I need to go back andwatch it?
No, no.
I mean, I like that they, theybrought in Silver Surfer.
Yeah.
Yes.
And Julian McMahon is doom.
(56:57):
He's a good Doom.
Yeah, yeah, yeah.
They, they, they got, they got Doom.
Right.
Which I I is probably morethan could be said with what we're
doing now with Downey.
I don't understand.
I, I, I, I, I'll say.
I think he's a fine actor.
I don't know why we'rerevisiting like, he had, he made
his mark on Marvel.
Like, that's fine.
(57:19):
We're done.
Let somebody else take thatrole and just, I'm not saying he
won't be good at it.
I just wish I want to seesomebody else take it and, like,
do their thing.
Be, be Doom.
Yeah, it could have been greatfor somebody else.
I just, I just want, like, it just.
Do Doom and Richards just haveto basically, like, dick slapping
each other?
Like, in all honesty, theentire movie is just them being to
(57:39):
each other.
Because for me, that's the,that's what the real thing is.
Like, they, like, they kind ofhate each other, but they can't stay
away from each other because,like, they are both the same level
of intelligence and they hadto prove each other.
And also, you know, so Sue I love.
And then, then we'll haveNeymar show up and then everyone
wants Sue Storm.
(57:59):
I want to see her side of itwhere it's like, I need you all to
be adults, please.
My brother's enough.
I don't need the rest of youlike this.
Like, what's Sue's life like?
It's so much exhausting.
That's the movie I want.
Yeah.
Like, that should be FantasticFour too.
Yeah.
There's an adult in the roomand it's always me.
Why?
And then no one Sees me and.
(58:21):
And Ben, right?
Oh, yeah, yeah, yeah.
Oh, yeah.
He's just like, you know what?
He just is like, I'm justgonna be quiet.
I do not want to get involved.
Ben's smart enough to be like,you know, I didn't marry him.
I'm sorry.
Yeah.
One of us made a mistake.
We all knew he was a.
To start with, so there you go.
That's why Ben Grim's the best.
(58:41):
Anytime he's.
He's in full thing mode, butin a trench coat, I'm happy.
That's great.
I'm like, that's.
No, no, that's his look.
I don't.
I don't know why, but it's perfect.
Him in a trench coat.
Yeah.
A hat.
A trench coat.
Still giant and rocks.
I love them.
Yeah.
I love them.
Oh, we're talking about theroom, so.
The room.
(59:01):
Yeah.
I'm sorry.
I think we probably met the.
The.
We.
We got to a good stoppingpoint on the room.
I feel like we've doneeverything we.
Can do with that, you know, wecan do.
We can think about what Tommy's.
Why.
So Fantastic Four would be,except for him as all four.
Yeah.
Who would he want to be?
I think.
No, he would have.
(59:22):
He would be read.
But would he also want to be Johnny?
I feel like he would probably.
Yeah.
I feel like Greg's like, I'mright here.
And Tommy's like, But also Ithink me, though.
Yeah.
I'll be like, Greg, you can be Ben.
Yeah.
Yeah.
He just puts them in like that.
Yep.
Yep.
(59:43):
With the Corman rock suit isexactly fascinating.
And then he'll.
He'll get a blonde to play Sue.
Yep.
Yeah.
Yeah.
He has type.
Yep.
Yeah.
So.
So yeah, that.
That's been the room.
This has been Anomaly Presents.
We.
We.
We do a podcast.
(01:00:03):
We also do a film festival.
It's November 5th through the 9th.
This year.
We are.
What?
What?
What What?
Air.
What?
What?
The line that we are for.
For watching programming isare we knee deep, elbows deep, eyeballs
deep in.
In programming that we're.
We're trying to get through to.
To bring to you this year?
Oh, I'm fully immersed, justwith gills, swimming through cinema,
(01:00:29):
finding the best.
It's like squirrel diving.
Yeah.
Like what?
Oh, empty.
I don't know what this is, but.
No, this.
Yeah.
Yes.
The dingle hoppers that we arefinding our next level this year.
It's honestly.
Yeah.
Submit.
We're on film Freeway forAnomaly Film Fest.
If you are making somethingand would like to send it to Us.
(01:00:50):
Please do.
What's our deadline on that?
It's the.
I think regular is 6-3-30thand then I forget what.
The other thing.
I don't remember either.
It's in the calendar.
I'm sorry.
August.
Ish.
Is your last chance for.
For romance with us this year.
You'll see it on socialsbecause Megan is on top of it.
(01:01:11):
Yeah.
So here's the thing.
Even though I said just know,I don't know the date calendar, Megan
has it.
It's already in the schedule calendar.
Megan's on it.
So it.
As you've no doubt ascertainedif you've been with us for a while,
dates are just vibes for us.
But we.
We always, always come up witha quality product at the end of it
and we are completely immersedin making that happen for you.
(01:01:35):
We are at all facets of it.
The decoration of the theater,the programming.
Yeah, the only thing we don'tdo is concessions.
But we don't have to becausethe little.
Yeah, they got that shit deadto rights.
That's the best popcorn in the world.
Join us, won't you?
Yeah, It's Anomaly Film fest.
It's the 5th through the 9thof November this year.
(01:01:58):
Anomaly film fest dot com.
Keep an eye out on our socials.
We will be back in a coupleweeks with another movie.
I don't know what yet becausewe usually decided about five minutes
after we finish recording.
That's how we got to the room.
We hung up last week, lasttime we were here and went, what
should we do, kp?
You haven't seen the room yet.
Well, I guess we're doing that.
(01:02:19):
We're good friends, everybody.
That's.
Yeah, that's how we.
That's how we operate.
Very sorry, kp, but yeah, so,yeah, we've been.
Anomaly presents.
You've been fantastic forlistening and we will catch you next
time.
Thank you.
Goodbye.
Bye.
This has been a presentationof the Lunchadore podcast Network.
Is certified pg.
Pretty great.
It's Anomaly Presents withyour friends, the podcastronauts.
Sounds like a lot ofsupernatural baloney to me.
Supernatural, perhaps.
Baloney, perhaps not.
(01:23):
Hello and welcome to AnomalyPresents, the podcast about the genre
movies that inspired a genrefilm festival.
That is the Anomaly Film Festival.
It makes its home in beautifulRochester, New York.
We are doing it again for.
What is this, the seventh time?
Sixth time.
Seven.
(01:44):
2018.
Lucky number seven.
Oh, my God.
Right?
You don't need to count to puton a film festival.
We swear to God, everybody,this year's lucky seven.
We're all, like, once.
Lucky number 11.
Yeah.
Okay.
We made it.
We did it.
No, one year barely exists inour head.
(02:06):
That's it.
There was one year that wasreal weird for everybody.
2019, everybody.
I was compiling the list, mywonderful Excel spreadsheet of all
of the things we have screened.
I was like, oh, yeah, I forgotabout that gem.
Oh, yeah, I forgot about that gem.
God loved and gone.
My brain is my brain.
(02:27):
You fondly, but forgot aboutyou for a hot second while I was
doing this.
Or forgot the year with whichwe had screened it.
Oh, yeah.
It always kind of lives in theether as I'm zipping through to be,
and I'm like, oh, hey, I'veseen that.
Our friend.
Yeah, our friend.
That's it.
These films are our friends.
Yeah.
So, yeah, this is the AnomalyPresents podcast, the podcast about
the genre movies that inspiredthe genre film festival.
(02:49):
It's Anomaly Film Festival,November 5th through 7th, the year
of our Lord 2025 in beautifulRochester, New York, at the historic
Little Theater and theslightly more historic Dryden Theater.
It's maybe neck and neck.
I don't want to give them toomuch, but.
Yeah, no, no, no, no.
We got talk good about them.
They keep letting us come back.
They haven't figured it out yet.
The palatial and historicdriving theater at the George Eastman
(03:13):
House In Rochester, New York.
Anomalyfilmfest.com is the website.
Anomaly Film Fest on all yoursocials, if you're nasty.
I think we're on Mastodon Blue Sky.
Oh, yeah, yeah.
We got the Blue sky, got theMastodon, got the Insta.
That's it.
Really, Orchid.
I.
I should be posting more ofour reels to Tick Tock, but I'm not.
(03:35):
That's on me.
That's on me.
Oh, and I guess technically Facebook.
Instagram's supposed to go onthere, but I got.
Anyway, you don't want to hearabout me and my social media manager
issues.
You can tell the ones I like.
And they're my children, myfavorite children.
And.
And.
And the others that are like.
Well, those also exist.
Yeah, it's fine.
I love all my children equally.
(03:56):
Is this, like, Lucille Bluth?
Facebook?
So, Yep, that.
That is the Anomaly Film Festival.
We are here to talk about themovies that inspired the Anomaly
Film Festival.
Sometimes it's kind of marginal.
Sometimes it's just movies wereally like, so we just want to talk
about them.
(04:17):
This one, I can honestly say,is kind of foundational for Anomaly.
Foundational for, like,personal growth.
Yeah, it's one of the.
The touchstone films that kindof brought about that weird, like,
independent auteur situation.
(04:37):
Maybe auteur 20.
What are we saying?
2000 and tens?
Is that where we were?
Somewhere in that ballpark?
2003.
2003.
And then with us longer.
Yeah.
And then.
Feels like it shouldn't be the2000s, though.
I feel like 1980s, 1990s.
Every time I see 2003, I'mlike, really?
(04:57):
Yeah, right, Exactly.
Feels older.
It hits.
Ageless.
Yeah.
It hit some weird notorietyout in la and they're like midnight
movies.
And then all of a sudden,there are a bunch of articles written
about it.
And then you could buy the DVDfrom the filmmaker off his website.
(05:20):
So I.
I read one of those articles.
I bought the DVD from TommyWiseau off his website.
You know, Living the Life.
You know, came with a nicepalm card.
It was very, very cool.
Listen, you walk the walk, notjust talk the talk.
Like, I will buy and support this.
We.
We had it.
We had everybody over to watchit, including our.
Our anomal dads, Matt andAdam, which gave way to more screenings
(05:42):
like that, including Birdemic.
Later.
Down.
Down the Road.
Amen.
Which led into us joiningforces with Magnus and Film Fail.
And that.
That's.
That's where we kind of joinedforces with Magnus and.
And Meg and.
Yeah, yeah.
So foundational is right.
Foundation.
This is a.
And then you all found out Ididn't watch it, and it immediately
(06:06):
got bumped to the top.
Oh, yeah, we.
This is rescheduled.
That we have a database.
We have a spreadsheet that KPhas put together, and we blew it
up because Matt and I arelike, oh.
No, no, no, wait.
No, no, kp.
We've been doing theology for.
For seven years now.
And you didn't read Genesis?
What the hell?
(06:28):
So here we are, we're talkingabout the 2003 classic the Room.
Also, because this is a moviepodcast and you are contractually
obligated to talk about theRoom do one episode just by virtue
of the fact that you're a.
A movie podcast.
So the punches and popcornepisode will probably be out in about
six months.
(06:48):
Love you guys.
Shout out.
There technically is a fight scene.
Yeah.
So yeah, a lot of taunting.
We could.
Cheap, cheap.
Speaking of arresteddevelopment and not knowing what
a bird sounds, no idea what.
A chicken sounds like.
Has anyone in this family evenseen a chicken?
(07:11):
Perfect.
That energy, except for ourrest development, that is on purpose
and in the room.
It is very lovingly not on purpose.
Yeah.
And, and I don't know, I feellike it's kind of, I don't know,
almost beating a dead horse togo into the background of the room.
Because there's been books andmovies and, and all that.
(07:32):
Yeah.
And he goes around and doesplenty of interviews and I know he
kind of flip flops on things,so it just seems like there's certain
core things you will know.
Everything else is just takeit for what it is.
So we've answered.
So.
So Matt, you said the firsttime you saw it, right?
That was buying.
Buying the dvd.
I bought the dvd.
Right.
Okay.
And then kp, it was because wemade you right now.
(07:55):
Yes, about a week and a half ago.
Whatever.
So it's funny because my firstlike real watching it was through
Rift tracks.
Oh.
So we've all had three verydifferent experiences.
Like, it became one of myfavorite, most relaxing Rift tracks
to throw on.
I, the, the, the do do do dolike, is relaxing to me because I'm
(08:17):
like, I'm just gonna pop thison and like just hang out in my room
or like half sleep.
So when I hear like, oh, hiMark, I'm like, ah, yeah, this is
my happy place.
I can rest.
Yeah.
Yeah.
Because I'm also safe becauseI'm not with this movie alone.
There are experts andprofessionals that are walking me
through.
Like, no, that was a veryweird thing that just happened.
(08:39):
Don't worry.
Thanks, guys.
I, I feel like we might havedone you a disservice.
Kp, you didn't watch this allby yourself, did you?
Oh no.
KP froze.
Oh no.
KP realize the error of herways and just escapes completely
(09:00):
from the stream.
You know, we'll just keepvamping for a bit.
Yeah, yeah.
So yeah, it's.
It's an interesting thing whenyou run into those movies like that
though, because it's.
You do need kind of a crowdto, to watch it either in your living
room or, or, you know.
Yeah.
Basically I was alone.
Oh, hello, kp.
I'm Back now.
I'm so sorry.
(09:21):
Right.
It was like the questionshocked you so much.
Like, I did watch it alone.
You sons of.
And then you just froze.
Yeah, no, I wasn't.
I was gonna make my sweetheartsuffer through that.
So I.
Oh, you know what love thatwas be.
That was beautiful.
She would have been done inthe first 10 minutes.
So.
So anyway, I'm gone.
There are very specificcheckpoints I can think of in this
(09:43):
movie where.
Where she might punch out.
And, yeah, 10 minutes isprobably it.
And then if she made it.
Yeah, 40 minutes in, it was funny.
Like, I mean, I have watchedplenty of movies that are, I'm sure,
inspired by this.
Right.
Or feel very like, yeah, I'llmake my own passionate.
Yeah.
(10:05):
Yeah, We've explored them onthis podcast.
Indeed.
And so I was like, yep, this.
This is.
This is ridiculous.
This is just all ridiculousness.
I mean, this man is being veryserious about what he's doing.
Oh, yeah, it is.
The way I look at it is.
I was like, it.
It's.
It's definitely not.
It's not Showgirls.
Right.
It's not somebody who, like,it's over the top for a reason or,
(10:27):
you know, the acting is theway it is for a reason.
This is a man who tried very hard.
Yeah.
To make something that meantsomething to him and is a laughingstock
kind of.
I feel a little weird about that.
Yeah.
Well, it's weird because,like, this.
This goes right into, like.
So the reason I like this is.
And, you know, I think folksare, you know, folks who like this
(10:49):
kind of film are kind of like,you know, figure out.
What do you call it?
Because it's so bad, it's good.
Sounds almost insulting.
And here's the thing.
You had a good time.
I like talking veryspecifically about this kind of film.
I like the term ego splitationwhen it is one person, usually a
dude who, you know, let's saythey have at least three credits,
if not more in the creation.
(11:10):
This is very Neil Breen, butthe idea that someone who had a message
that they wanted to share andthey are very serious about it, they.
These are very serious moviesabout serious issues.
Bringing up birdemic.
James and Gulian had somethingto say about the world and ecology
and was very serious.
(11:30):
One of my.
My favorites.
Speaking of madness, becausewe went through several of this gentleman's
films during film fail.
Frank d' Angelo.
I was just going to ask you totalk about Frank d' Angelo.
Thank you.
Yes.
Okay.
The.
The Canadian businessman who Ibelieve his money was from cheetah
energy drink.
And he's used that money tomake a series of films where he's
(11:52):
like a really cool, somewhatmob related dude.
He's we.
He's driving a motorcycle andthey always end up eating in the
restaurant this man actually owns.
And he's.
And this is funny because it'sinteresting the parallels to yo where
Tommy also wrote a movie whereeveryone loves him and they come
to him for advice and he'slike, this made.
And this is the same thingwith d' Angelo.
And it's very interesting tosee like, same thing with brain.
(12:14):
You have someone who wrote astory how.
Someone who looks exactly likethey are and they're very much them.
Anytime you see any of thesefilmmakers outside of the film, this
is the same person and they'rewriting a story about how they're
really cool and amazing andwise and when bad things happen,
it's everybody else's faultand the world's horrible.
Because really, if people justlisten to them and let them like,
(12:36):
lead, well, the world will bea better place.
So I'm very interested.
Another movie, Champagne and Bullets.
Yes.
Another where a man stops themovie entirely just to do a Hamlet
soliloquy.
Soliloquy.
Because he can.
But also he's pretty sure he'sreally good at it.
Also, also takes time out todo his big rock ballad.
(12:58):
Oh my God, it's an entire song.
Like he wanted to be a rockstar and an actor.
Yeah.
Puts the brakes on the moviefor four minutes.
Can say, well, that's.
That's Tommy.
W y.
So with the two sex scenes.
And he thinks he's like debonair.
You.
He thinks he's like a heartthrob.
And it's exactly all thesemovies happening.
(13:19):
They.
They reveal.
So like, I almost like what'shappening for me.
And part of the reason I enjoy them.
One, they're interesting.
There's a lot of boring moviesout there.
These are not mediocre films.
These are special.
And I hold that very dear to me.
And part of what makes themspecial is you have someone.
And an artist, I'm going tosay artist.
Art doesn't have to be good or bad.
It is art.
It is creation and it is veryself revealing.
(13:41):
They are revealing more aboutthemselves than they know they are.
Which I think is key to egosploitation.
Like, I know a lot about theseguys now.
I know a lot about what makesthem tick.
And I think that's what othersfind very interesting.
Like, I know a lot about Tommy.
I Feel like I know how atleast one of his relationships went
disastrously.
(14:02):
Yeah.
Very badly.
Reading the Wikipedia and hehad written a 540 page novel that.
Like.
And this.
Yeah, that was.
He became a journal.
Yeah, he had the worst breakup.
Whoever this witch of a womanwas just didn't appreciate him.
Woke up one day and justdecided to stomp all over his heart.
(14:23):
She's never actually given a reason.
She just wakes up and is like.
Yeah, he bought her anexpensive dress and he cheats on
her.
Right?
Yeah.
But yeah, no, I think thatpoints to it being very revealing
about him because these aren't fully.
Like the characters are notthree dimensional.
They're all like the peoplewho hurt me.
The real victim and hero in life.
(14:45):
It's very much the pastiche.
And kp.
Yeah, it's a journal.
Some would call it a manifesto.
It's kind of that sort ofthing where these are the people
that wronged me in very broadstripes and we're just going to go
at them and.
And this is how.
How the world looks through my weird.
Yeah, very interesting eyes.
Yeah, he just.
(15:05):
Based on what we do know abouthim, he seems like the type of guy
who just like wants toreinvent himself and wants to be
cooler and wants to run awayfrom who he was.
Like, there's very little.
Yeah, there's very littleknown about his past.
He tried to pass off being French.
Like he changed his name tosome sound French as opposed to Polish.
(15:26):
So like there's all thesethings that are just like, yeah,
okay, I'm sorry, I guesswhatever happened.
But yeah, yeah, I mean, whatwas, what was the sitcom he created?
Was it the Neighbors again?
A setup where like, hey, I'mthe cool dude.
Everyone in the neighbor, theneighborhood knows and they're all
wacky, but I'm there and likehe's trying.
(15:47):
Yeah, you can see.
Desperately he's trying towrite his own story.
Like this is what he wants hislife to be and I gotta give it to
him.
I mean, I know who TommyWiseau is.
Oh yeah.
Like, I think of like himgoing to these screenings that are
Rocky Horror esque and youare, you know, you.
(16:08):
It's something so important to yourself.
Right.
That is deep.
And you wrote 540 pages on it.
And my understanding is likethe filming of this took a very long
time because he wanted to getit right and.
Oh, I have some information on that.
It's fascinating.
Oh yeah.
And then you just go.
And these people are likethrowing spoons and laughing at parts
that you probably didn'tintend to be funny.
(16:29):
And it's that weird dichotomyof being like, I'm famous and people
are seeing my work.
And there's something greatabout that.
And it's being interpreted ina way that I did not intend.
What's interesting, I findwith White, like, say, I'm.
Could have been being.
Bring Breen up a lot.
I'm sorry.
I'm sorry.
I think it.
Because that is one placewhere they do differ is I think,
(16:51):
why so in his need to, Ithink, just be famous.
I don't even think his need isto be an actor or a writer or.
I think it's needed to befamous, perhaps as an artist, but
famous.
Right.
So that, I think explains hisadjustment to going, oh, it's always
a comedy.
Oh, it was a dark.
Like.
I think because he needs totell himself that he can enjoy this,
which is great.
(17:11):
Whereas Breen will not allowyou to show any of his movies as
a midnight movie.
He.
He.
He is not down with anyoneenjoying this in any way, but how
he presents it, and that'sjust super.
That.
That is interesting.
I don't.
I think that just probablyspeaks a bit to their differences,
but also that ego.
Either way, can you.
Can you turn the world so itfits your ego, or do you try to force
(17:33):
the world to.
It fits your ego, you know.
Yeah.
With Breen, I saw somebodycompare him just recently to George
Lucas.
Like, in his mind, he thinkshe's George Lucas, which is why the
films have kind of evolved theway they have.
So now he's everything ongreen screen.
Because he can control.
Yeah.
And it's all controlled.
It's all.
It's his own little diorama, almost.
(17:54):
Yeah.
Which is interesting because why.
So hasn't really like the Roomwas his, like, masterpiece.
That was this thing he had toget out in the world.
And it's almost likeeverything after was just to keep
the fame.
Like a weird selling underwear.
I feel like, again, that'smore interesting to him is I'm Tommy
Wiseau.
(18:15):
Whereas Breen's like, I willcontinue to make movies for I'm an
artist.
I love both of thesesituations quite a bit because it
speaks to what's important ineach of their lives and.
Also keep them busy becauseI'm seeing inside their souls.
Oh, my God.
I don't want that you staybusy doing other stuff.
Please.
What would be happening inthis world if Tommy Wiseau was left
as to different devices thanwhat he's at?
(18:38):
He did just make A movierecently, didn't he?
Where it was like a sharkattack movie like a year or two ago.
Oh, he might.
In 2023.
Yeah.
I want to say it ran as adouble feature at the north park
in Buffalo.
They ran that and then the room.
That's very specific.
So I bet that's true.
Yeah, that's a very specificthing to think.
It feels recent to me.
(18:58):
That's the only reason.
Because I was like, oh, TommyWiseau is there.
He was also there at Christmastime showing the room.
IMDb picture.
Scary.
Okay, sorry.
Yeah, it's called Big Shark.
I feel like why so has becomea little more self aware.
I mean, again, it's aboutfame, I think, for him, as opposed
(19:21):
to art.
So he's leaning into, well,why will people invite me?
It might not be why I made mything, but people invite and talk
to me.
That's what he likes.
It's a thing.
This is gonna sound weird, butit's a thing I kind of got to watch
firsthand because it wasbreaking right when we were at Comic
Con in San Diego, like everyyear for six years.
So we saw the evolution ofWiseau because, like, the one year
(19:44):
he was there and he washawking the DVDs, and he was like,
there's a very specific erathat Tommy Wiseau is from.
And it's 1999.
It is corn and Limp Bizkit.
Yeah, yeah, yeah.
You're talking aesthetically.
We saw him successive years,and he had the biggest Jinko pants
I've ever seen in my life.
And then the black plasticchain, you know, like they use at
(20:07):
the amusement parks behind.
Between the stanchions.
Yeah.
That was his chain wallet.
Amazing.
Amazing.
But in successive years, hestarted to play the part of celebrity
more like there were the firstcouple of years, it was.
I'm happy to see you.
Like if people caught him.
And then he was trying to beincognito in a way, still dressed
(20:27):
as Tommy Wiseau, mind you.
So, like, he's a verydistinctive figure in general.
Yeah.
But still trying to play itlike he's just walking the aisles
like, oh, oh, so.
So don't notice me, but say.
Saying it very loudly.
Oh, no, please leave me alone.
I'm just trying to go about my day.
Okay.
Yeah.
Don't look over here.
(20:48):
It's not Tommy Wiseau.
Yeah.
I said don't look over here.
Yeah.
Fascinating.
Yeah.
It was an evolution probablyin that.
That three years between that.
The time that article.
It might have been the Vulturearticle came out.
Yeah.
And whenever There was like aweb series he did, like House of
something or other.
(21:08):
Yeah.
Where it's like him playingMortal Kombat.
Yeah.
I didn't want to look thesethings up because I was like.
I just read about it and waslike, yeah, I don't.
I.
I don't want the Internetclogging up whatever else I got going
on.
You're getting Googlenotifications anytime Wiseau is in
the area.
Yeah.
I'm happy you're.
I'm happy you're having a goodtime and you're busy.
I.
Yeah, keep them busy.
(21:29):
Keep them busy, everybody.
But you know what?
Yeah, good.
I think you're right, Meg.
Like, there it is that wherehe's there for the fame of it more
than he is.
Because that's what he wants.
Is that recognition.
Yeah.
He made.
He remade himself.
Even though people are like,this isn't you.
It is him in that he madehimself this.
He's living that.
He 100 is Tommy Wiseau right now.
(21:50):
And what a triumph.
I mean, honestly, for him.
Whatever is like hinted at,like the Disaster Artist book, you
know, Greg Cistero and the cowriter do a little, like, stuff that
Greg could figure out and alittle bit of research.
It does not sound like a greatpast if whatever they could pick
up.
Right.
It sounds very much like hewould love for that just never existed.
(22:12):
And he.
He did it.
He did it.
He's an oddball, but hereinvented himself like the.
The American dream.
Yes, exactly that.
He really does embody theAmerican dream, which is a wild thing
to say.
Yeah.
But you're right.
And he did it by making this movie.
That is just.
(22:33):
I.
Let's dive into it.
Should we talk about the movie?
Let's talk about the.
We're.
We're 20 minutes into the cultof personality for Wiseau, so we
can probably.
This is what he would want.
Oh, yeah, no doubt.
This is an hour long and wespent half of it talking about him.
Yeah, we're doing our part.
Yeah.
The.
The folk hero that is Tommy Wiseau.
(22:54):
Yeah.
So this movie.
So it starts.
Movie.
Yes.
KP.
It's fresher in your mind.
Probably.
There's three sex scenes inthe first 26 minutes.
And when I was like, I lookedat the time and said, what is happening
here?
But it also, like you said,does not give 2003.
Definitely gives 80s 90s.
(23:15):
Yeah, yeah, yeah.
That real timeless.
Yeah, yeah.
There is a timelessness too.
Like, I don't know what'sgoing on because an alien made this
film.
I Was gonna say because Idon't want to room.
And it's just curtains.
Yeah, yeah, yeah.
He's wearing a suit.
She's.
(23:36):
I'm trying to remember whatkind of clothes she wears other than
that red dress.
Right?
It's an iconic red dress.
Lisa's red dress.
Iconic.
Lisa is always dressed justas, like, Southern California, late
90s.
Yeah, yeah.
With the.
With the giant French manicures.
That was wild.
How many times we saw that.
I'm like, what is happening here?
(23:56):
She must have just paid goodmoney for that.
Either that or we're going to watch.
It again and again.
It's another peek into Wiseau psyche.
It's one of the two.
But, yeah, it's justeverything about it.
Meg, you said alien.
And everything about it feelsthat way because it's shot very much
like a sitcom, but translatedback and forth from a different language.
(24:17):
Tone is wildly off duringcertain things.
Again, referred back to thedisaster artist.
A couple times they would talkabout, like, hey, hey, Tommy.
When.
When we're having dialoguethat, like, say, like, Mark is talking
about, I used to know this girl.
She was going out with a lotof dudes.
She got beat up so bad, sheended up in a hospital.
And Tommy laughs.
(24:38):
And it goes, oh, Mark.
And they would go, tommy,please don't react that way.
That makes no sense.
And I was like, no, no, that's how.
Like, that stuff, like, it isa why so.
Reaction.
Because it makes no, you know, like.
Or the whole.
The famous.
Like when he goes up to theroof and he slams his water bottle
down.
I did not hit her.
I did not.
(24:58):
And initially, oh, hi, Mark.
And like, they were like,tommy, that makes no sense.
You were upset.
And now.
And he's like, no, that's howI'm gonna play it.
So he had a vision.
There are so many, and it'svery not human.
The sex scenes, too, are.
Not to sound pervy about it,but, wow.
(25:20):
Even the ones that Dennydoesn't show.
Up in, I mean, there's that.
Which is Denny, who isanywhere between, what, 13 and 74
years old.
Yeah.
Just wild.
Because again, another peekinto why.
So it's brain.
So he wants to be like, oh,I'm the cool neighbor who takes care
of care of this kid, and Ilook up after him, but he's jealous
(25:42):
of my love, of my hot lady.
So he'll just, like, come upwhen we're about to get busy, and
then we just wrestle on thebed and it's fine and not awkward.
And I don't Yell at this guyto leave my house.
Yeah.
Because again, I.
He reads like he's a high schooler.
It's.
I.
I can't get a bead on Denny.
(26:02):
Yeah.
I.
And that's bizarre.
Yeah.
Yeah.
It's just.
It's one of the moreconfounding movies I've.
I've seen.
Yeah.
Or just, you know the stuffwhere Lisa's mom's like, out of nowhere,
like, well, I gotta call back.
It's definitely breast cancerand it never comes back devastating.
(26:24):
That should affect, like, oh,well, then Lisa's under a lot of
stress and she's.
Nope.
No.
This movie is an hour and a half.
Not even.
It's like an hour 20.
And it's dense.
Well, that.
I don't know how many times I,like, after that first 24 minutes.
And then after that, I waslike, we're still going, like, hello.
(26:47):
Hello.
It is a short film that feelsmuch longer indeed.
And it's wild because what.
And they, like, run out oftime or like, some of the actors
weren't available.
Oh.
So it would have been morelike the psychiatrist or something.
Therapist.
That's the best part.
Peter, the guy who playsPeter, the friend and psychologist
who there is a scene for.
Right?
Yeah.
He is very clear.
He said, listen, I haveobligations after this, so I can't
(27:10):
film anymore after this date.
That date came and went.
So all of a sudden an entirenew character is introduced.
Well, I say introduced.
Shows up and basically saysall of what would been Peter's lines.
And the movie's just like, oh,this other guy.
Yeah, you all know this other guy.
Did we introduce him?
We didn't have time.
From nowhere.
Apparently the cast and a lot.
There's a lot of turnover.
(27:32):
Apparently the crew, at leastthe legend, is at least four times
a complete recap.
You know, a re hiring of the.
The crew.
Greg Sestero was not supposedto be in the film.
He was doing it because he.
He was a friend slash roommateof Tommy.
Yo.
The disaster artist.
The book Wild.
But.
But so he was there just tohelp his friend Tommy.
(27:55):
And the first person whoplayed Mark was one of the several
actors who were recast during it.
And.
And Greg was there.
So Greg Sestero's trajectoryof his life, not just his career,
his life was changed when hewas cast as a Mark.
And it was just because of thegeneral chaos of the filming.
(28:19):
Could you imagine?
Just the proximity, like thatwas it.
He was there because he needed a.
He met Tommy in an actingclass, needed a place to live.
And I was like, sure, I'llhelp you, weirdo whose apartment
I live in sometimes.
And then boom.
Super fascinating.
The fact that.
So Tommy didn't reallyunderstand filmmaking, which I think
(28:40):
is.
Is fairly clear.
On a technical level, though,he filmed everything in both 35 millimeter
and.
And high definition video.
Basically, they built aspecial thing to film both at the
same time.
There is no high definitionvideo in the final cut.
It is just 35 millimeter.
He didn't know that those arejust two different formats and you
(29:02):
should choose.
So he just spent the money tojust record with both at all times.
Which, again, goes towardswhat we were saying before, where
things are sometimes offkilter because they didn't have it
quite right.
So things were.
It was like a.
It was a handmade rig.
So both things would be in running.
At the same time.
And then what is.
(29:22):
Sometimes it's, like, fuzzy.
That it's not fuzzy.
There's green screen for no reason.
Like the roof.
Why didn't you just film onthe roof?
Literally outside.
They were outside.
Yeah.
They filming.
Yeah.
They built the set for that alien.
The.
The famous tuxedo.
Like football.
Yeah.
They were like, we could film this.
(29:43):
There are alleys.
But he had a vision also.
He didn't know how films weremade, but he thought he knows how.
That's the thing with ysl.
He.
He doesn't know how films weremade, but he thinks he knows how
films are made.
And whatever his thought aboutit that day was, was how they made
the film.
I've had managers like that inthe past.
And.
Yeah.
(30:05):
Yeah.
It's never.
It's.
You're just trying to survive.
Imagine having thatconfidence, though.
Like, that's just.
That's the amazing thing to me.
Like, just the confidence.
Now I'm pretty sure I know howto do this.
No, I got this.
I got this.
I got this.
You most certainly do not got this.
(30:26):
But okay.
And everyone's, like, guidinghim to be like, hey, this isn't how.
Maybe.
Maybe not.
And he's like, no, no.
I am certain.
This is the way it shall be done.
Certainty.
Yes, kp the certainty withwhich this film was made is w.
If I.
Had even an eighth of theconfidence that Tommy Wiseau had
at any given moment.
Right.
(30:46):
Unstoppable.
Unstoppable.
Honest to God, they made thismovie was 6 million.
Who gave this man $6 million?
That is always a mystery.
People are like, where didthis money come from?
There are many stories I willnever know.
And you know what?
It doesn't really matter.
It exists and it's a gift fromthe universe to everybody else.
(31:09):
Yeah.
Thank you.
Do you think he's made the 6million back?
@ this point, you gottafigure, right?
I guess it's just.
Okay, so it's the wildmismanagement at the beginning because.
Okay, so besides that.
Right.
The marketing.
So they had that billboard that.
That famous bill for five years.
He paid for that shot of hisface, which he called the evil man,
(31:32):
which isn't what his characteris in the film.
It's just a weird shot of him.
But why so like the image somuch that he's like, there on this
billboard.
Five years.
A Hollywood billboard isinsanely expensive, even accounting
for inflation.
So I.
I would love to think he madethe money back, but I don't know
(31:53):
if y.
So is like, the best with the.
I feel like that he.
He could have 5 cents.
He could have 5 million in hisaccount, and I would believe any
in between.
I would figure the Seth Roganmoney probably got him over.
Like, that would be my hope.
Yeah, yeah, yeah.
Oh, right.
Yeah.
Like, at.
At that he's able to recoupand at least be comfortable until.
(32:15):
Who knows what kind oflifestyle this man leaves.
But do you think Tommy's ever comfortable.
Financially or just in his.
No, I, I, you got.
I mean, in his human skit.
No.
Right.
No.
I feel like the question ishuman because he never seen a human
(32:36):
act like that.
Yeah.
It's total first day on earth.
Yeah.
Total Edgar suit moments.
Right.
It's.
And, and they met in an acting class.
He felt called to acting.
One of my favorite bits ofknowledge there because, like, he
had a lot of different.
He liked Tennessee Williams plays.
He liked a lot of the, like,big actors.
Like, he loved James Dean.
(32:57):
The fact, you know, the reason that.
You're tearing me apart.
Lisa, line exists is he's justripping off Rebel Without a Cause.
He just added Lisa at the end.
It feels a lot like Streetcaror like the big Rebel Without a Cause.
Like, I can see where he loved.
Like, yeah, he felt called to that.
And this is what TennesseeWilliams is interpreted through the
(33:19):
man who calls himself Tommy Wiseau.
It's fascinating.
It really is.
Yeah.
Because.
Yeah, I can see where it'sTennessee Williams meets Meisner.
Just like that.
Real.
Like.
Yes.
Once I read that, I waslooking through it again.
I said, okay.
I mean, they don't.
Things don't make sense.
But I almost maybe see theroad he was trying to get on.
(33:40):
He didn't get on that road,like, he took the wrong exit, but
I know where he was trying to go.
But now that you mention it, Ithink if you try to take human logic
out of it and just cast it from.
Yeah, yeah, yeah.
The emotional impact of it.
Sure.
It has the exact trajectory.
So he understands which.
(34:01):
To his benefit.
Really.
Yeah.
And it may just be like justtranslating back and forth between,
you know, what.
Wherever his origin is andWestern American movies.
Yes.
Because I.
We can probably.
We don't know where he's from,but we can say it's probably not
Nebraska right now.
Now I, I would put the littlebit of money I have on that.
Yeah.
(34:21):
So.
But he didn't come up in thatwestern movie culture.
So American reflection fromsomewhere, right?
Yes, yes.
Eastern Europe is my guess.
Yeah.
I would say general EasternEurope is probably where we are with.
With it.
Right.
But I can totally see where.
If you grew up watching thatlike on TV or at the movies, and
(34:45):
that's your reference forAmerican culture.
Yeah.
And then you really attachyourself to those like big American
movie star icons.
That's what he wanted to be and.
He did it from, from that standpoint.
Yeah, yeah.
I mean.
Yeah.
Super successful.
And I think that's probablywhy, you know, 22 years later, it's
(35:08):
still relevant, is that youcan feel that.
Yeah.
The, the, the absolute wantand need to be this person.
Not just the character, butthe person who made this thing for,
you know.
Yes, absolutely.
We're.
It is an act of self creation.
That is so ballsy.
(35:29):
That is so like beyond.
Like most of us would stop andgo, that's.
That's embarrassing.
That's cringe.
What am I doing?
But because why.
So either doesn't or cannothave that stop point.
He made the room.
All the good and bad thatcomes from that.
He made the room.
And then all the reflectionsof that afterward, which.
(35:51):
Yeah.
How many of these moves likeagain, going back to the Disaster
Artist, the novel slash movie.
Yeah.
When are they going to make ad' Angelo big budget mockumentary
epic with James Franco playing?
Well, probably not James Franco.
Maybe with d' Angelo.
(36:11):
It could be.
It's.
Yeah, but you know what Imean, it's.
It's that level of.
Yeah.
So.
Yeah.
Someone creating a version ofthemselves that they wish to be true,
that they wish to be seen as.
Oh, it's fascinating thoughquick aside for d' Angelo, which
is fascinating because theyall have all these ego exploitation
directors.
They have their things thatmake them kind of different.
(36:32):
D' Angelo would get folks likeactual actors like he had like Frank
Nero.
He had like Margo Kidder, Ithink Doris Robertson, a couple things.
Who else was it?
Robert Loa.
Here's Robert Loa.
Because here's the thing.
They'd film over the weekend.
He'd pay cash and the cateringwas good.
Yeah.
He got to hang out with.
Oh God, what's his name fromEddie and the Cruisers, Michael Perret.
(36:57):
He's in a bunch of his films.
So people come back to a d'Angelo film.
I think they know the filmthey're in, but he pays them and
he has.
And, and what, what d' Angelogets out of it is I get to hang out
with these actors and then Iget to be like, I'm also one of these
actors.
In fact, I'm the star of thething they're in.
So that's his star story isI'm a cool like Hollywood dude.
(37:21):
I'm hanging out with this dude.
You seen him in TVs andmovies, right.
I feel like for D' Angelo,part of it is I'm going to make this
movie where I'm the cool dude.
But also at 9 o' clock atnight, I'm going to be sitting there
with a glass of scotch.
Yeah.
Talking about the Craft withEric Roberts.
That's.
That's it for him.
That's what it is.
(37:41):
It's always fascinating for him.
It's the hello.
Because he's got the money andI don't think he has the need.
Why so does to totally convert himself.
He just needs to be like, I'mnot just a guy who has like, who
created an energy drink.
Also.
I am also an artist.
I, I am an artiste.
I am a TV personality.
(38:01):
Because he did have hisinterview show for a while.
He had like his late nightvariety show.
He's another guy that we needto keep in the arts.
Be busy.
Yeah, just be busy.
I need him to stay real busy.
I got a feeling I need him tostay in the arch.
Entertain a person that reallyjust needs to keep in front of a
camera.
We should probably do one ofhis movies at some point.
(38:21):
What was it?
Sicilian Vampire.
I was just about to say themovie that he is a vampire, but about
a halfway through the movie heforgets he's a vampire because he's
not actually interested in that.
And it kind of becomes anotherone of his.
He's basically like a mob guy,but you know, one of those cool mob
guys who protects theneighborhood and loves his lady and
protects her and rides a motorcycle.
That was also the last one wewatched together the one with Robert
(38:43):
Loa and Margot Kidder.
I really enjoyed.
I thought that was fun.
One.
I gotta check.
I don't remember the name of it.
We watched it together.
We were over at Magnus.
Oh, I.
We watched so many d' Angelo films.
Yeah.
In all honesty, I'd have tolike go.
It was a stretch.
Was that the one where he waskind of the mob guy who was like
the coolest dude in theneighborhood or was it the one where
he's the mob guy?
This cool student neighborhood.
They both were in a restaurant.
(39:04):
It was the one where he rodethe motorcycle.
Oh yeah.
Which I was like, that wasjust a tax write off that legit.
I will guarantee you he drivesthat thing in real life.
That Bugatti is his.
Yes, it is his 100.
Well, I haven't watched anyhis movies either.
So we'll add it to the list.
We'll get there on that.
We're going to take youthrough the.
The ABCs of ego exploitationand then.
We'Re going to watch Champagneand Bullets.
(39:25):
But we need to have stuff in between.
So.
Yeah.
The movies are supposed to look.
Yeah.
And that's wonderful.
We.
We will do that.
We'll.
Champagne and Bullets.
I.
I have the Blu ray, so wecould do that together some point.
Oh yeah.
Whichever version.
Because he added stuff 20years later.
I have the vinegar syndrome,which is all of them.
(39:48):
It's the get even cut.
It's Champagne and Bullets.
It's the whole.
There's like three different cuts.
I have all of them.
You know how I can bring thisback to the room?
Apparently, according to GregCesto originally, Johnny was supposed
to be revealed to be a vampirein the room.
Hey, do you think that moviemakes more sense or less sense with
(40:08):
that looking through that lens?
I don't know.
Do you want to know what?
I think it makes more sense.
Yeah.
Because then that gives yousome context as to why he acts not
he's in the way he does.
Yeah, yeah.
I was interested.
Of course.
This is just from.
From Sestero.
I don't know if you've beenthought about that one.
Yeah, yeah.
(40:28):
But I.
I love the idea that he wasgoing to make Johnny a vampire.
And I was like, I could one more.
Could this film support onemore thing or.
Or is it like some sort oflike that Topple gang game that just
slips over?
It could have been the Jenga moment.
Yeah.
But I don't know that it wouldbecause again, I think that explains
(40:52):
stuff.
70 of the behavior now, of course.
He'S a day walker.
But, you know, we can excusethat from.
Or the plot.
The fact that they throw afootball within three feet of each
other.
Oh, my God, he loves football.
I think football is America tohim because there's, like, at least
two football throwing scenes.
Yeah, that.
That is very symbolic for him.
(41:13):
He's like, I made it becauseI'm making a movie and I'm tossing
a football around of myfriends, where I am paying to be
my friends in this film.
Yeah, it's a.
I.
I love it.
I.
I just.
There's something sointeresting about a revealing film
that is enjoyable in a waythat was not intended, but it is
(41:33):
still enjoyable.
That's.
I.
Those are ones I really, youknow, hold dear.
And the thing that.
Again, the thing that reallygets me about it is how it's connected
to so many people in so many weird.
You know, again, it's 23, 22years later.
Yeah.
It's probably the reason atleast 10 podcasts exist.
(41:54):
Oh, guaranteed.
Oh, no, we lost KP.
That's okay, KP.
We're gonna.
We're keep vamping.
Don't worry.
Vamping.
Wow.
It's like, I didn't know tostart that or.
This is the power of yso.
It is the power of Windsor.
KT again.
No, no, no, no.
I heard everything, but I was.
(42:14):
I was frozen and I was like,you know what?
I'm having technical difficulties.
These.
But we're.
Obviously.
I'm back.
I saw it lock up on you for ahalf a second.
I was like, oh, no.
Yeah, we're good.
But professionals.
I heard it all.
It was wonderful being a vampire.
I.
But, yes.
I.
Yeah, I'm curious.
Fresh in your brain.
(42:36):
Would that have made itbetter, worse, or Indescribable?
I think indescribable.
Because, like, he's a good vampire.
I don't.
Yeah, I can see that.
I.
He's a good vampire.
He's a gay.
Like.
Yes.
He's a day walker.
I.
I don't understand how it tiesinto the rest of.
He's a good man.
And, like, how does anythingtie into anything in that story?
(42:59):
Maybe it's just he.
I feel like it'd be more likehe thought vampires were cool and
wanted to be one.
Like, it was a Blade era, ifwe think about.
It would have been what,Interview with the Vampire.
Yeah.
Yeah, I could.
I could see him being realinto that.
Trying to just ride that.
And you said that he was Mr.
Like, Janco Jeans and.
Yeah, so that.
That.
(43:19):
That tracks, like, personality Wise.
Yeah, I could see it.
I could see it.
Yeah.
I don't know.
In my head, I just every oncein a while, I, I.
When I'm re.
Watching the room as.
As I.
I, I tend to with or withoutthe rift tracks depending on where
my brain is.
It's like you.
I can watch the vampire version.
I just have.
It's like an alternate track.
I just put my brain feelinggo, okay, okay.
(43:40):
Johnny's a vampire when Irewatch it this time.
Okay.
Yeah.
Okay.
I mean, if it was good thingthere was not a cat at the florist
because the cat would havehissed at him.
But the doggy florist scene.
My favorite customer.
You're my favorite.
Like, Like.
Oh, hi, Johnny.
I didn't recognize you.
What the did you just say?
Well, I guess if you were avampire, that would be your interaction
(44:03):
with the world.
Is this what humans think do?
Hello, flowers dog.
Yeah.
It doesn't explain heractions, though.
Well, that's it.
But they're controlled fromhim ultimately, so.
Right.
Because how many people onthis godforsaken planet look like
(44:23):
him to the point where shecould mistake him for anyone else?
Like I say, I have been in aroom eight feet away from the man.
There's no way he's anyone butTommy Wiseau.
He.
I.
I assume he has an aura.
Like, I feel like you wouldknow he was in the area before you
visually saw him.
Yes.
Like, what the.
Yes.
You feel it?
Yeah, yeah.
(44:43):
It's a very vampiric quality because.
Yes.
The air turns cold approaches.
Maybe it was too close to the truth.
Yeah, exactly.
He was like, oh, I can't giveaway all my secrets.
No, I gotta save something.
There's gotta be.
Yeah, right.
It also.
I mean, it could be realbecause I don't know that he's aged
in the last 22 years.
Yeah.
(45:03):
Oh, he.
Based on that IMDb picture,he's looking.
I mean, he's.
He's dedicated to that hair.
I will give him that.
That, that hair.
It's.
It's.
It is its own character.
Jet black still, which is impressive.
Yeah.
Yeah.
It looks dry as heck.
Yeah, he's.
(45:24):
He's looking a little worsefor wear.
Just a smidge.
Like.
Well, you know, he lives.
He lives a celebrity life.
The man is never nottraveling, as near as I can tell.
I will say this.
It doesn't look like he's hadplastic surgery, which kudos to him
because he.
Could have been an absolutemonster by now.
Like, he could have Jocelynwild and stained him out.
(45:44):
Yeah.
Real bad.
(46:16):
Yeah.
His IMDb picture looks likehim making, like, the duck lips.
It's kind of funny.
Okay, I'm making this up now.
He's his.
He's staring into my soul.
It's very, like, MySpaceprofile picture.
I don't like this.
No, exactly.
That's what I mean.
No, no, no.
It's a cursed image.
It's MySpace profile picture.
(46:38):
You know what it is?
The light through the windowwhen I woke up is looking pretty
good.
It's good.
Selfie light.
Exactly.
I feel like he just woke up,and I don't like being in that situation.
It's the duck lips.
It's the lighting.
Oh, there we go.
Oh, yeah.
Yeah.
I just.
Okay, but here's the thing.
He wants it to look like hejust took this photo.
(46:58):
How long do you think itactually took to get that photo?
The entire camera rolled.
Yes.
This phone was basically like,you've run out of.
You've run out of space.
That's right.
The cloud is full.
Yeah.
It's just fascinating becauseyou can see, like, he is a calculated
person.
And in this photo, I feel likeI can see.
(47:19):
See that.
Calculate.
He's trying to.
He's calculating, being casual.
I don't think he's a personthat casual comes too easy.
Or at all.
I'm sorry.
I was just distracted by Big Shark.
Yeah, that's okay.
You know what, Matt, you takea second.
You can take a second.
I'm watching later.
Good night, everybody.
So, well, we're ending this now.
(47:40):
Bye.
I just.
I get this is.
I.
I don't know if complimentary,but it's not derogatory when I talk
about why.
So it is interest.
Interest.
It is.
I am interested.
I'm also a little wary.
Like, I don't want to bearound him.
I wish to watch him from asafe distance.
Yes.
(48:00):
We're observing with labcodes, like I.
An experiment, if you will.
Just see how you move throughthe world.
Yeah.
Wait a minute.
We can see the reflection inyour glasses.
What are you looking at?
Yeah, what you're looking at.
What you're looking at.
Tommy Wiseau is the villain in samurai.
Samurai Cop 2.
(48:22):
Yeah.
Okay.
No, you know what?
I'm.
I'm not.
I'm not.
I don't like these things combining.
I don't like.
Like, there's, like, a certainpurity to a bad movie that came out,
wasn't meant to be bad.
And then you do these sequelswhere all of a sudden they're combining.
Yeah, because here.
So we've got Tommy Wiseau andBai Ling.
(48:42):
Yeah, okay.
See, they're trying too hard.
You're trying too hard at that point.
But, I mean, listen, I gettrying to get your money.
Like, I know Deadliest Prey exists.
I know this.
I know this.
I'm not upset that they, like,took another bite at the apple.
But also, like, it just never.
You can't capture it.
You can't capture the.
The other.
Estevez.
(49:03):
Oh.
Oh, Joe.
Estefans, is it?
Okay, why don't you say thatto begin with, Matt?
Maybe I do have to watch this.
Do you know how far I had toscroll to get there, though?
Why won't you put.
Go home, Joe.
I don't talk to people whoaren't in the movie.
See, Rift Tracks again,Sincerely is imprinted on my brain.
Oh, my God.
(49:24):
Movie.
Look at this.
Watch.
I need to watch Soul Taker.
What's.
Oh, Soul Taker.
Wild, wild film.
You know what?
It had almost what I'm looking for.
Someone really wanted to make,like, a supernatural thriller.
Didn't really have a whole lotof money.
Robert Zadar is in that, right?
Am I remembering that correctly?
(49:46):
Yep.
The chin, it is.
I can see what they weretrying to do.
I can see what they weretrying to do, and I salute them for
it.
Yeah.
I was like, oh, Soul Taker isa fun one.
Say, if Zadar is in it, I'm.
I'm there, right?
I'm so happy to see the Cherry 2000.
Another episode that youshould check out for Anomaly Presents.
(50:07):
Go back to the archives.
He's not in it a lot, but Iwas like, look, it's the dar.
Every minute of Zadar is worthtwo minutes of any other actor.
Yeah.
We do have to remind peoplethat we do watch regular good films
here on Anomaly Presents.
Just every once in a while,they let us go a little nuts of the
(50:28):
weird stuff.
You're doing good films inCherry 2000.
You're doing a lot of work there.
No.
Do I have to fight you?
Okay.
I enjoy it.
I like 2000.
I think it's a genuinely goodfilm that does what it's put it sets
out to do.
Agreed.
Yeah.
Okay.
By the measure, though, sodoes the room.
So I dulce it.
(50:50):
You know what?
Who goes to watch?
Audience.
I like to remain friends withyou, Matt.
So we shall leave thisconversation there.
We'll go back to our original argument.
What did the room do for Tommy Wiseau?
It gave him what he wanted.
And that's a success, is it not?
I see.
I see.
So we're not talking about thepiece of art doing what the piece
(51:12):
of art set out to do.
You're talking about theartist who made the piece of art.
Did.
Ah, I see, I see we're havingtwo different conversations here.
Possibly.
Yeah, I'll give it to him.
Hey, I went to art school.
I gotta do something with this.
Okay, the art school and theEnglish major are really battling
it out on this one.
Okay, what does the mean?
(51:33):
Yeah, let's get granular with this.
I'll Michelle Foucault on your ass.
I don't care.
Kp, kp, save us with a spreadsheet.
I know.
I, I went for like engineering.
Yes.
Like, this is what we need.
We need this energy.
Graphic engineering, butengineering all the same.
That's the closest any of therest of us are getting.
(51:55):
There were numbers involved.
There were numbers involved.
I had to take calc.
I had to take plenty of physics.
I had to take optics.
I.
I got a math credit with the3D sculpture class.
I didn't make anything with aright angle in that film.
I made a.
In that class.
I made a drum out of a gourdand I got math credit for.
It jumps on you.
(52:18):
I told the story.
I had to get one math creditin college and I took algebra for
non majors, which was.
They brought the 11th grademath teacher from Fredonia High School.
Yes.
In to teach all the com.
Majors and jocks.
Algebra.
These are numbers.
It was discontinued thesemester after because they realized
it was an 11th grade grade class.
(52:38):
Oh, but you got it in.
I did.
And I got a C minus, so.
Yeah, yeah.
Loopholes.
The Pythagorean theorem.
Like, as an adult.
Holy kp, you're amazing.
I'm like, no, this is likenothing in comparison to regular,
like actual.
No, no, no, listen.
(52:59):
You're talking to an art majorand an English major.
We're.
We are going to be astounded.
Yeah.
What comms in English.
It really wasn't goinganywhere for me.
Like, I did get, I thinkeither a minor or concentration in
literature because you gottahave the arts.
You can't just be a scientistor else you turn evil.
(53:21):
That.
Exactly, exactly.
And this is what movies do for us.
We learn important lessons.
Like, yo, you're gonna bail.
You need some humanities in there.
Yeah, right, right, right.
That's how to get your Dr.
Dooms.
Actually, I take it back.
Dr.
Doom probably took humanities.
He's got the humanities in there.
Yeah, real life, guys.
Actually, Reed Richards is theone who needed more humanity.
(53:43):
I'm on to you, Richards.
I.
What a Jerk.
Play that in the movie.
But I can't.
Here's my thing.
I cannot imagine Pedro Pascalplaying the side of Reed Richards.
We'll find out.
It'll break my heart a little.
Let me go.
No, I know you're an actor andI understand that, but also.
No, but then again, he won'tbe Reed Richards if he's not kind
(54:05):
of a dick.
He's got to be kind of a dick.
Yeah.
The best version of ReedRichards is the one we know, and
he's still kind of a dick.
Yeah.
In all the multiverse, this isthe most mellow one.
It's okay.
By the way, Meg, you are thefirst person I, I've talk to that
(54:25):
is even thinking about thatmovie coming out.
It's, it's weird because therewas like a little like, hey, they
showed a, a trailer and thenit went.
I, I, I don't know.
I don't know.
Yeah, I don't know.
I'm excited that the guy fromthe Bear is in it.
He's fun.
I like that it's like, I likethat it's a period piece because
I think like, start them outbecause he'll bring them into the
present, start them out wherethey started.
(54:47):
Because There is a certain 60sflare to the Fantastic Four.
I still stick by the fact theyshould have made the Peyton Reed
one with them in the 60s, thatfirst fantastic Four movie that Peyton
Reed made, because he had justmade the movie with, what was it?
Renee Zellweger and With Love.
Yeah.
What a masterpiece.
That's the same.
(55:08):
With Love.
That's the same director.
What.
I'm pretty sure that's PeytonReed, because Peyton Reed, I want
to say he did Mr.
Show and then he did that.
Fascinating.
And then he was supposed to doFantastic Four.
And one of the ideas for theoriginal Fantastic Four, if I remember
right, and this could just bewhat I wish happened, years of what
I've done to my brain.
(55:30):
But I'm pretty sure it wassupposed to be like a, like mid century
space age Kirby.
I think that's, that's a greatway to at least introduce them, like
get that feeling.
But they had to go with thatmcg vibe that nobody liked.
Am I right?
Is that, is that the ChrisEvans one or is this the other one
that there's been a lot of fantastic.
(55:50):
That is the Chris Evans one.
Yeah.
I don't see him tied to.
Ah.
Oh, maybe he was supposed toand didn't.
Yeah, I like that idea being a.
Good fit because like how down with.
Love like, yeah, that would be great.
Would have been, yeah.
Which I, that is the hope for,I guess, the new one.
(56:12):
I hope.
So here's the thing, is that,is it the, it's not the first Fantastic
Four movie?
Because that's the RogerCorman one, the other one, but not
the newest anyway.
The one with Chris Evans.
Are they good?
No, but I, I love that thatkind of introduced him into superheroes,
you know, like, and heactually was a really good Johnny
Storm.
Like, I thought the castingwas fairly good.
(56:34):
Elba, rough wig week.
That probably wasn't the best.
Yeah, I was like, oh,sometimes she's a little flat.
But I gotta go back.
I be like, I gotta go back andwatch this.
Do I, do I need to go back andwatch it?
No, no.
I mean, I like that they, theybrought in Silver Surfer.
Yeah.
Yes.
And Julian McMahon is doom.
(56:57):
He's a good Doom.
Yeah, yeah, yeah.
They, they, they got, they got Doom.
Right.
Which I I is probably morethan could be said with what we're
doing now with Downey.
I don't understand.
I, I, I, I, I'll say.
I think he's a fine actor.
I don't know why we'rerevisiting like, he had, he made
his mark on Marvel.
Like, that's fine.
(57:19):
We're done.
Let somebody else take thatrole and just, I'm not saying he
won't be good at it.
I just wish I want to seesomebody else take it and, like,
do their thing.
Be, be Doom.
Yeah, it could have been greatfor somebody else.
I just, I just want, like, it just.
Do Doom and Richards just haveto basically, like, dick slapping
each other?
Like, in all honesty, theentire movie is just them being to
(57:39):
each other.
Because for me, that's the,that's what the real thing is.
Like, they, like, they kind ofhate each other, but they can't stay
away from each other because,like, they are both the same level
of intelligence and they hadto prove each other.
And also, you know, so Sue I love.
And then, then we'll haveNeymar show up and then everyone
wants Sue Storm.
(57:59):
I want to see her side of itwhere it's like, I need you all to
be adults, please.
My brother's enough.
I don't need the rest of youlike this.
Like, what's Sue's life like?
It's so much exhausting.
That's the movie I want.
Yeah.
Like, that should be FantasticFour too.
Yeah.
There's an adult in the roomand it's always me.
Why?
And then no one Sees me and.
(58:21):
And Ben, right?
Oh, yeah, yeah, yeah.
Oh, yeah.
He's just like, you know what?
He just is like, I'm justgonna be quiet.
I do not want to get involved.
Ben's smart enough to be like,you know, I didn't marry him.
I'm sorry.
Yeah.
One of us made a mistake.
We all knew he was a.
To start with, so there you go.
That's why Ben Grim's the best.
(58:41):
Anytime he's.
He's in full thing mode, butin a trench coat, I'm happy.
That's great.
I'm like, that's.
No, no, that's his look.
I don't.
I don't know why, but it's perfect.
Him in a trench coat.
Yeah.
A hat.
A trench coat.
Still giant and rocks.
I love them.
Yeah.
I love them.
Oh, we're talking about theroom, so.
The room.
(59:01):
Yeah.
I'm sorry.
I think we probably met the.
The.
We.
We got to a good stoppingpoint on the room.
I feel like we've doneeverything we.
Can do with that, you know, wecan do.
We can think about what Tommy's.
Why.
So Fantastic Four would be,except for him as all four.
Yeah.
Who would he want to be?
I think.
No, he would have.
(59:22):
He would be read.
But would he also want to be Johnny?
I feel like he would probably.
Yeah.
I feel like Greg's like, I'mright here.
And Tommy's like, But also Ithink me, though.
Yeah.
I'll be like, Greg, you can be Ben.
Yeah.
Yeah.
He just puts them in like that.
Yep.
Yep.
(59:43):
With the Corman rock suit isexactly fascinating.
And then he'll.
He'll get a blonde to play Sue.
Yep.
Yeah.
Yeah.
He has type.
Yep.
Yeah.
So.
So yeah, that.
That's been the room.
This has been Anomaly Presents.
We.
We.
We do a podcast.
(01:00:03):
We also do a film festival.
It's November 5th through the 9th.
This year.
We are.
What?
What?
What What?
Air.
What?
What?
The line that we are for.
For watching programming isare we knee deep, elbows deep, eyeballs
deep in.
In programming that we're.
We're trying to get through to.
To bring to you this year?
Oh, I'm fully immersed, justwith gills, swimming through cinema,
(01:00:29):
finding the best.
It's like squirrel diving.
Yeah.
Like what?
Oh, empty.
I don't know what this is, but.
No, this.
Yeah.
Yes.
The dingle hoppers that we arefinding our next level this year.
It's honestly.
Yeah.
Submit.
We're on film Freeway forAnomaly Film Fest.
If you are making somethingand would like to send it to Us.
(01:00:50):
Please do.
What's our deadline on that?
It's the.
I think regular is 6-3-30thand then I forget what.
The other thing.
I don't remember either.
It's in the calendar.
I'm sorry.
August.
Ish.
Is your last chance for.
For romance with us this year.
You'll see it on socialsbecause Megan is on top of it.
(01:01:11):
Yeah.
So here's the thing.
Even though I said just know,I don't know the date calendar, Megan
has it.
It's already in the schedule calendar.
Megan's on it.
So it.
As you've no doubt ascertainedif you've been with us for a while,
dates are just vibes for us.
But we.
We always, always come up witha quality product at the end of it
and we are completely immersedin making that happen for you.
(01:01:35):
We are at all facets of it.
The decoration of the theater,the programming.
Yeah, the only thing we don'tdo is concessions.
But we don't have to becausethe little.
Yeah, they got that shit deadto rights.
That's the best popcorn in the world.
Join us, won't you?
Yeah, It's Anomaly Film fest.
It's the 5th through the 9thof November this year.
(01:01:58):
Anomaly film fest dot com.
Keep an eye out on our socials.
We will be back in a coupleweeks with another movie.
I don't know what yet becausewe usually decided about five minutes
after we finish recording.
That's how we got to the room.
We hung up last week, lasttime we were here and went, what
should we do, kp?
You haven't seen the room yet.
Well, I guess we're doing that.
(01:02:19):
We're good friends, everybody.
That's.
Yeah, that's how we.
That's how we operate.
Very sorry, kp, but yeah, so,yeah, we've been.
Anomaly presents.
You've been fantastic forlistening and we will catch you next
time.
Thank you.
Goodbye.
Bye.
This has been a presentationof the Lunchadore podcast Network.
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I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Cold Case Files: Miami
Joyce Sapp, 76; Bryan Herrera, 16; and Laurance Webb, 32—three Miami residents whose lives were stolen in brutal, unsolved homicides. Cold Case Files: Miami follows award‑winning radio host and City of Miami Police reserve officer Enrique Santos as he partners with the department’s Cold Case Homicide Unit, determined family members, and the advocates who spend their lives fighting for justice for the victims who can no longer fight for themselves.